Mixed Race Studies

Race, Theory, and Scholarship in the Biracial Project

Chapter in:

Race Struggles
University of Illinois Press
2009
352 pages
6.125 x 9.25 in.; 4 tables
Paper ISBN: 978-0-252-07648-0

Edited by:

Theodore Koditschek, Professor of History
University of Missouri, Columbia

Sundiata Keita Cha-Jua, Associate Professor of History; Associate Professor of African American Studies
University of Illinois, Urbana-Champaign

Helen A. Neville, Associate Professor of African American Studies and Educational Psychology
University of Illinois, Urbana-Champaign

Chapter Author:

Minkah Makalani, Assistant Professor of African and African Diaspora Studies
University of Texas, Austin

Since the early 1990s, there has emerged in the United States a push to racially reclassify persons with one black and one white parent as biracial. A central feature of what I am calling the biracial project is a cohort of scholars, themselves biracial identity advocates, who argue that such an identity is more appropriate for people of mixed parentage (PMP) than a black one. These scholars maintain that when PMP identify as biracial, they gain a more mentally healthy racial identity, have fewer experiences of alienation, and are able to express their racial and cultural distinction from African Americans. In addition to the presumed personal benefits of such an identity, these scholars suggest that a biracial identity is a positive step in moving society beyond race and toward a color-blind society. What remains troubling about this scholarship, though, is a tendency to conceptualize PMP as a distinct racial group, and the inattention to the potentially negative political impact such a reclassification would have on African Americans.

Historically and currently, white supremacy in the United States has hinged on the oppression of people of African descent. The position of African Americans in the political economy has served as the basis for developing a racialized social system, restructuring that system at different historical moments, and incorporating new social groups into the racial hierarchy as races. Asserting a new racial group premised on a claim to an inherent (biological) whiteness and a rejection of blackness taps into the intricacies, logics, and values of that very system. It is therefore important to remember that the push for a biracial racial category arose and made its greatest strides amid predictions that by the year 2050 whites will be a numerical minority. More than a question of self-identity, the push for a biracial identity concerns substantiating the existence of a new race to be positioned as an intermediary between blacks and whites in a reordered racialized social system. Indeed, in the United States there have always been multiple racial groups situated below whites in the racial hierarchy. Sociologist Eduardo Bonilla-Silva has recently argued that, increasingly, different groups are beginning to hold a position of “honorary whiteness” within that hierarchy. Taking into account the structures of race in Latin America and the Caribbean, I remain unconvinced that an honorary white racial status in the United States would include PMP, as Bonilla-Silva suggests, though I agree with his claim that various racialized groups that were previously denied the privileges of whiteness increasingly enjoy advantages, privileges, and access to centers of power that continue to be denied black people and those whom Bonilla-Silva calls the “collective black.” Far from helping to erase existing color lines or challenging the new racial formations described by Sundiata Keita Cha-Jua and Bonilla-Silva, it would draw yet another color line. And unlike certain Asian and Latino groups, a new biracial race stakes its claim, quite literally, on possessing whiteness.

The biracial project approaches racial identity as racial identification, or the assertion of a racial category. Using identity as a synonym tor race has also entailed inadequate attention to the complexities of identity. Consequently, these works rarely engage the psychological scholarship on black identity formation, not to mention the historical, sociological, and cultural interrogations of blackness that have appeared in Black Studies over the past century. Most troubling is the inattention, if not utter aversion, to the history of PMP considering themselves black and struggling over the meanings of blackness.

It is hardly coincidental that these scholars presume certain antiracist attributes to inhere in a biracial identity. In asserting the subversive character of a biracial identity, Maria P. P. Root maintains that it “may force us to reexamine our construction of race and the hierarchical social order it supports.” Naomi Zack and G. Reginald Daniel more plainly argue that a biracial identity hastens the end of racial categories altogether by challenging popular notions of race. For Zack in particular, a biracial identity serves as the basis for “ultimately disabus(ing) Americans of their false beliefs in the biological reality of race,” thus leading society away from racial classifications and hastening racisms demise. Still, the progressive qualities of a biracial identity are more apparent than real, largely asserted with little research substantiating the claims of its proponents.

The presence of a biracial race would certainly disrupt popular ideas about race, but as scholars supporting biracial identity root it in biological notions of race “mixture,” it seems unlikely that such a disruption would result in the end of racial classifications. Work on race in the Caribbean and Latin America shows that a racially mixed identity is entirely consistent with a racialized social system. Moreover, recent work interrogating-color blindness has shown that this is the current dominant racial ideology, suggesting that a color-blind society as a goal is more likely to ensure the persistence of racism than its decline. I therefore find especially troubling the claims by Naomi Zack, G. Reginald Daniel, Kathleen Odell Korgen, Paul R. Spickard, Maria P. P. Root, and others discussed below, that the biracial project represents a progressive social movement.” In my view, based both on the popular push for such a reclassification and the scholarship discussed here, this project is less concerned with ending racism than with responding to the racialization of all people of African descent in the United States as black.

Situating the discussion of biracial identity in the context of race and racial oppression as structural relationships, I provide a detailed review of the theoretical and prescriptive literature advocating a biracial identity. Specifically, I am concerned with this racial projects theoretical basis for a biracial identity, how it conceptualizes race and racism, the place of the one-drop rule in this conceptualization, and the defense of biracial identity as an antiracist tool…

Read the chapter here.

Passing and the Rise of the African American Novel

University of Illinois Press
2001
208 pages
6 x 9 in.
Paper ISBN: 978-0-252-07248-2

M. Giulia Fabi, Associate professor of American literature
University of Ferrara, Italy

Revealing the role of light-skinned black characters passing for white in African American literature

A CHOICE Outstanding Academic Title, 2003

Passing and the Rise of the African American Novel restores to its rightful place a body of American literature that has long been overlooked, dismissed, or misjudged. This insightful reconsideration of nineteenth-century African American fiction uncovers the literary artistry and ideological complexity of a body of work that laid the foundation for the Harlem Renaissance and changed the course of American letters.

Focusing on the trope of passing—black characters lightskinned enough to pass for white—M. Giulia Fabi shows how early African American authors such as William Wells Brown, Frank J. Webb, Charles W. Chesnutt, Sutton E. Griggs, Frances E. W. Harper, Edward A. Johnson, and James Weldon Johnson transformed traditional representations of blackness and moved beyond the tragic mulatto motif. Challenging the myths of racial purity and the color line, these authors used passing to celebrate a distinctive, African American history, culture, and worldview.

Fabi examines how early black writers adapted existing literary forms, including the sentimental romance, the domestic novel, and the utopian novel, to express their convictions and concerns about slavery, segregation, and racism. Chesnutt used passing as both a structural and a thematic element, while James Weldon Johnson innovated by parodying the earlier novels of passing and presenting the decision to pass as the result, rather than the cause, of cultural alienation. Fabi also gives a historical overview of the canon-making enterprises of African American critics from the 1850s to the 1990s and considers how their concerns about promoting the canonization of African American literature affected their perceptions of nineteenth-century black fiction.

Brother Mine:  The Correspondence of Jean Toomer and Waldo Frank

University of Illinois Press
2010
208 pages
6 x 9 in.
14 black & white photographs

Edited by:

Kathleen Pfeiffer, Associate Professor of English
Oakland University, Rochester, Michigan

An extraordinary literary friendship, preserved in letters

The friendship of Jean Toomer and Waldo Frank was one of the most emotionally intense, racially complicated, and aesthetically significant relationships in the history of American literary modernism. Waldo Frank was an established white writer who advised and assisted the younger African American Jean Toomer as he pursued a literary career. They met in 1920, began corresponding regularly in 1922, and were estranged by the end of 1923, the same year that Toomer published his ambitiously modernist debut novel, Cane.

While individual letters between Frank and Toomer have been published separately on occasion, they have always been presented out of context. This volume presents for the first time their entire correspondence in chronological order, comprising 121 letters ranging from 200 to 800 words each. Kathleen Pfeiffer annotates and introduces the letters, framing the correspondence and explaining the literary and historical allusions in the letters themselves.

Reading like an epistolary novel, Brother Mine captures the sheer emotional force of the story that unfolds in these letters: two men discover an extraordinary friendship, and their intellectual and emotional intimacy takes shape before our eyes. This unprecedented collection preserves the raw honesty of their exchanges, together with the developing drama of their ambition, their disappointments, their assessment of their world, and ultimately, the betrayal that ended the friendship.

When Brer Rabbit Meets Coyote: African-Native American Literature

University of Illinois Press
2003
328 pages
6 x 9 in.
Cloth ISBN: 978-0-252-02819-9

Edited by:

Jonathan Brennan, Professor of English
Mission College, Santa Clara, California

An exploration of the literature, history, and culture of people of mixed African-Native American descent

An exploration of the literature, history, and culture of people of mixed African American and Native American descent, When Brer Rabbit Meets Coyote is the first book to theorize an African-Native American literary tradition. In examining this overlooked tradition, the book prompts a reconsideration of interracial relations in American history and literature.

Jonathan Brennan, in a sweeping historical and analytical introduction to this collection of essays, surveys several centuries of literature in the context of the historical and cultural exchange and development of distinct African-Native American traditions. Positing a new African-Native American literary theory, he illuminates the roles subjectivity, situational identities, and strategic discourse play in defining African-Native American literatures.

Brennan provides a thorough background to the literary tradition and a valuable overview to topics discussed in the essays. He examines African-Native American political and historical texts, travel narratives, and the Mardi Gras Indian tradition, suggesting that this evolving oral tradition parallels the development of numerous Black Indian literary traditions in the United States and Latin America.

The diverse essays cover a range of literatures from African-Native American mythology among the Seminoles and mixed folktales among the Cherokee to autobiography, fiction, poetry, and captivity narratives. Contributors discuss, among other topics, the Brer Rabbit tales, shifting identities in African-Native American communities, the “creolization” of African American and Native American mythologies and religions, and Mardi Gras Indian performance. Also considered are Alice Walker’s development of an African-Native American identity in her fiction and essays and African-Native American subjectivity in the works of Toni Morrison and Sherman Alexie.

Sui Sin Far / Edith Maude Eaton: A Literary Biography

University of Illinois Press
1995
288 pages
ISBN-10: 0252021134; ISBN-13: 978-0252021138

Annette White-Parks, Professor Emeritus of English
University of Wisconsin, LaCrosse

Foreword by Roger Daniels

Winner of the Association for Asian American Studies Outstanding Book Award in Cultural Studies.

This first full-length biography of the first published Asian North American fiction writer portrays both the woman and her times.

The eldest daughter of a Chinese mother and British father, Edith Maude Eaton was born in England in 1865. Her family moved to Quebec, where she was removed from school at age ten to help support her parents and twelve siblings. In the 1880s and 1890s she worked as a stenographer, journalist, and fiction writer in Montreal, often writing under the name Sui Sin Far (Water Lily). She lived briefly in Jamaica and then, from 1898 to 1912, in the United States. Her one book, Mrs. Spring Fragrance, has been out of print since 1914.

Today Sui Sin Far is being rediscovered as part of American literature and history. She presented portraits of turn-of-the-century Chinatowns, not in the mode of the “yellow peril” literature in vogue at the time but with an insider’s sympathy. She gave voice to Chinese American women and children, and she responded to the social divisions and discrimination that confronted her by experimenting with trickster characters and tools of irony, sharing the coping mechanisms used by other writers who struggled to overcome the marginalization to which their race, class, or gender consigned them in that era.

Table of Contents

• Foreword by Roger Daniels
• Preface
• Introduction
• 1. A Bird on the Wing
• 2. Montreal: The Early Writings
• 3. Pacific Coast Chinatown Stories
• 4. Boston: The Mature Voice and Its Art
• 5. Mrs. Spring Fragrance
• Conclusion
• Bibliography
• Index

“A Half Caste” and Other Writings

University of Illinois Press
2003
208 pages
6 x 9 in.
Paper ISBN: 978-0-252-07094-5

Onoto Watanna (1875-1954)

Edited by:

Linda Trinh Moser, Professor of English
Missouri State University

Elizabeth Rooney

Previously uncollected short stories and essays by the first fiction writer of Chinese ancestry to be published in the U.S.

“What did it mean to be a ‘half caste’ in early twentieth-century North America? Winnifred Eaton lived that experience and, as Onoto Watanna, she wrote about it. This collection of her short works—some newly discovered, others long awaited by scholars–ranges from breathless magazine romance to story melodrama and provides a riveting introduction to a unique literary personality.”—Diana Birchall, author of Onoto Watanna: The Story of Winnifred Eaton Onoto Watanna (1875-1954) was born Winnifred Eaton, the daughter of a British father and a Chinese mother. The first novelist of Chinese descent to be published in the United States, she “became” Japanese to escape Americans’ scorn of the Chinese and to capitalize on their fascination with things Japanese. The earliest essay here, “A Half Caste,” appeared in 1898, a year before Miss Numé: A Japanese-American Romance, the first of her best-selling novels. The last story, “Elspeth,” appeared in 1923. Of Watanna’s numerous shorter works, this volume includes nineteen—thirteen stories and six essays—intended to show the scope and versatility of her writing. While some of Watanna’s fictional characters will remind today’s readers of the delicate but tragic Madame Butterfly, others foreshadow such types as the trickster in Maxine Hong Kingston’s Tripmaster Monkey (a novel in which Onoto Watanna makes a cameo appearance). Watanna’s characters are always capable, clever, and inventive—molded in the author’s own image.

Mandy Oxendine

University of Illinois Press
September 1997
136 pages
ISBN-10: 0252063473
ISBN-13: 9780252063473

Charles W. Chesnutt (1858-1932)

Foreword by

William L. Andrews, E. Maynard Adams Professor of English
University of North Carolina, Chapel Hill

In a novel rejected by a major publisher in the 19th century as too shocking for its time, writer Charles W. Chesnutt (1858-1932) challenges the notion that race, class, education, and gender must define one’s “rightful” place in society. Both a romance and a mystery, Mandy Oxendine tells the compelling story of two fair-skinned, racially mixed lovers who chose to live on opposite sides of the color line.

Foreword

Mandy Oxedine is Charles W. Chesnutt’s first novel, though it has had to wait one hundred years to find a publisher. The leading African American fiction writer at the turn of the century, Chesnutt apparently began Mandy Oxendine a few years after he made his initial literary success as a short story writer for the prestigious Atlantic Monthly. Failing to interest his publisher in Mandy Oxendine, Chesnutt decided to focus his energies on making a book of short fiction, an effort that was doubly rewarded in 1899 with the publication of The Conjure Woman and The Wife of His Youth and Other Stories of the Color Line. Mandy Oxendine returned to its creator’s file of unpublished manuscripts; evidently Chesnutt never placed it in circulation again.

The effect of Mandy Oxendine on the long evolution of The House behind the Cedars (1900), Chesnutt s first published novel, was significant, for in both stories the central issue is the dilemmas a fair-skinned African American woman must confront in passing for white. When compared with Mandy Oxendine, The House behind the Cedars has reater narrative density and is more sure-handed in its development of secondary characters and plots. On the other hand, with regard to the depiction of the mixed-race woman, the central figure in both stories, the earlier unpublished novel is more resistant to popular notions of femininity and less willing to accommodate itself to the protocols of “tragic mulatta” fiction than is The House behind the Cedars. Perhaps the fate of Mandy Oxendine helped convince Chesnutt that to get his version of the novel of passing into print, he would have to tone down and conventionalize some of the qualities that make Mandy Oxendine remarkable. Certainly next to Rena Walden, the pathetic ingenue who plays the victimized heroine in The House behind the Cedars, Mandy Oxendine seems almost italicized by her bold self-assertiveness and her canny sense of how a woman of color must operate if she is to protect and advance her interests in the post-Reconstruction South. Through her plainspoken southern vernacular, Mandy Oxendine articulates a tough-minded assessment of her racial, gendered, and class-bound condition, which sheds a good deal of light on her creator’s firsthand experience of life along the color line in a region of North Carolina very much like Mandy’s own milieu.

Whether Chesnutt agrees with Mandy s solution to her situation or whether he favors the strategy espoused by her eventual husband, Tom Lowrey, is left deliberately vague in Mandy Oxendine. In the later published novels, Chesnutt usually states or strongly implies his moral perspective on social issues, but in Mandy Oxendine he seems more reticent, as though testing the waters. He may have been trying to determine for himself just how far a writer in his position should go in representing forthrightly and objectively the complex web of personal desire, racial obligation, and socioeconomic ambition that held the mixed-blood in social suspension in the post-Civil War South. Is Mandy Oxendine to be condemned for having spun her own web of deceit, or has she always been caught in a cage designed by the new southern social order to restrain those who might challenge its official deceptions about color and class? However a reader responds to these questions, one suspects that the social and gender issues that probably caused Mandy Oxendine to seem beyond the pale one hundred years ago are likely to make the novel of more than passing interest today, for Mandy Oxendine is a prototype of a new brand of African American literary realism in the early twentieth century.

Beyond Bondage: Free Women of Color in the Americas

University of Illinois Press
2004
344 pages
6 x 9.25 in. 
Illustrations: 25 tables
Cloth ISBN: 978-0-252-02939-4
Paper ISBN: 978-0-252-07194-2

Edited by

David Barry Gaspar, Professor of History
Duke University

Darlene Clark Hine, Board of Trustees Professor of African American Studies and History
Northwestern University

Black women who were not slaves during the era of slavery

David Barry Gaspar and Darlene Clark Hine’s Beyond Bondage outlines the restricted spheres within which free women of color, by virtue of gender and racial restrictions, were forced to carve out their existences. Although their freedom, represented by the acquisition of property, respectability, and opportunity, always remained precarious, the collection supports the surprising conclusion that women of color often sought and obtained these advantages more successfully than their male counterparts.

Africans and Native Americans: The Language of Race and the Evolution of Red-Black Peoples (Second Edition)

University of Illinois Press
1993
Paper: 978-0-252-06321-3
352 pages

Jack D. Forbes, Professor Emeritus. Native American Studies and Anthropology
University of California, Davis

This volume will revise the way we look at the modern populations of Latin America and North America by providing a totally new view of the history of Native American and African American peoples throughout the hemisphere. Africans and Native Americans explores key issues relating to the evolution of racial terminology and European colonialists’ perceptions of color, analyzing the development of color classification systems and the specific evolution of key terms such as black, mulatto, and mestizo, which no longer carry their original meanings. Jack Forbes presents strong evidence that Native American and African contacts began in Europe, Africa, and the Caribbean and that Native Americans may have crossed the Atlantic long before Columbus.

Black Europe and the African Diaspora

University of Illinois Press
2009
368 pages
6 x 9 in. 
15 black & white photographs, 1 map
Cloth: ISBN 978-0-252-03467-1
Paper: ISBN 978-0-252-07657-2

Edited by

Darlene Clark Hine, Board of Trustees Professor of African American Studies
Northwestern University

Trica Danielle Keaton, Associate Professor of African American and Diaspora Studies
the University of Minnesota, Twin Cities

Stephen Small, Associate Professor of African American Studies
University of California, Berkeley

Multifaceted analyses of the African diaspora in Europe

The presence of Blacks in a number of European societies has drawn increasing interest from scholars, policymakers, and the general public. This interdisciplinary and multi-disciplinary collection penetrates the multifaceted Black presence in Europe, and, in so doing, complicates the notions of race, belonging, desire, and identities assumed and presumed in revealing portraits of Black experiences in a European context. In focusing on contemporary intellectual currents and themes, the contributors theorize and re-imagine a range of historical and contemporary issues related to the broader questions of blackness, diaspora, hegemony, transnationalism, and “Black Europe” itself as lived and perceived realities.

Contributors are Allison Blakely, Jacqueline Nassy Brown, Tina Campt, Fred Constant, Alessandra Di Maio, Philomena Essed, Terri Francis, Barnor Hesse, Darlene Clark Hine, Dienke Hondius, Eileen Julien, Trica Danielle Keaton, Kwame Nimako, Tiffany Ruby Patterson, T. Denean Sharpley-Whiting, Stephen Small, Tyler Stovall, Alexander G. Weheliye, Gloria Wekker, and Michelle M. Wright.