Mixed Race Studies

Scholarly perspectives on the mixed race experience.

recent posts

about

  • No Man’s Nightingale: An Inspector Wexford Novel

    No Man’s Nightingale: An Inspector Wexford Novel

    Scribner (an imprint of Simon & Schuster)
    November 2013
    288 pages
    Hardback ISBN: 9781476744483
    Paperback ISBN: 9781476747132

    Ruth Rendell

    A female vicar named Sarah Hussein is discovered strangled in her Kingsmarkham vicarage. A single mother to a teenage girl, Hussein was working in a male-dominated profession. Moreover, she was of mixed race and wanted to modernize the church. Could racism or sexism have played a factor in her murder?

    Maxine, the gossipy cleaning woman who discovered the body, happens to also be in the employ of retired Chief Inspector Wexford and his wife. Wexford is intrigued by the unusual circumstances of the murder, and when he is invited by his old deputy to tag along with the investigators, he leaps at the chance.

    As Wexford searches the Vicar’s house, he sees a book on her bedside table. Inside the book is a letter serving as a bookmark. Without thinking much, Wexford puts it into his pocket. Wexford soon realizes he has made a grave error in removing a piece of valuable evidence from the scene without telling anybody. Yet what he finds inside begins to illuminate the murky past of Sarah Hussein. Is there more to her than meets the eye?

  • Love, Liberation, and Escaping Slavery: William and Ellen Craft in Cultural Memory

    Love, Liberation, and Escaping Slavery: William and Ellen Craft in Cultural Memory

    University of Georgia Press
    2015-05-15
    136 pages
    8 b&w photos
    Trim size: 6 x 9
    Hardcover ISBN: 978-0-8203-3802-6
    Paper ISBN: 978-0-8203-4724-0
    Ebook ISBN: 978-0-8203-4832-2

    Barbara McCaskill, Associate Professor of English and co-director of the Civil Rights Digital Library
    University of Georgia

    How William and Ellen Craft’s escape from slavery, their activism, and press accounts figured during the antislavery movement of the mid-1800s and Reconstruction

    he spectacular 1848 escape of William and Ellen Craft (1824–1900; 1826–1891) from slavery in Macon, Georgia, is a dramatic story in the annals of American history. Ellen, who could pass for white, disguised herself as a gentleman slaveholder; William accompanied her as his “master’s” devoted slave valet; both traveled openly by train, steamship, and carriage to arrive in free Philadelphia on Christmas Day. In Love, Liberation, and Escaping Slavery, Barbara McCaskill revisits this dual escape and examines the collaborations and partnerships that characterized the Crafts’ activism for the next thirty years: in Boston, where they were on the run again after the passage of the 1850 Fugitive Slave Law; in England; and in Reconstruction-era Georgia. McCaskill also provides a close reading of the Crafts’ only book, their memoir, Running a Thousand Miles for Freedom, published in 1860.

    Yet as this study of key moments in the Crafts’ public lives argues, the early print archive—newspapers, periodicals, pamphlets, legal documents—fills gaps in their story by providing insight into how they navigated the challenges of freedom as reformers and educators, and it discloses the transatlantic British and American audiences’ changing reactions to them. By discussing such events as the 1878 court case that placed William’s character and reputation on trial, this book also invites readers to reconsider the Crafts’ triumphal story as one that is messy, unresolved, and bittersweet. An important episode in African American literature, history, and culture, this will be essential reading for teachers and students of the slave narrative genre and the transatlantic antislavery movement and for researchers investigating early American print culture.

  • A Language of Our Own: The Genesis of Michif, the Mixed Cree-French Language of the Canadian Métis

    A Language of Our Own: The Genesis of Michif, the Mixed Cree-French Language of the Canadian Métis

    Oxford University Press
    1997-06-05
    336 pages
    1 linecut, 5 maps
    6-1/8 x 9-1/4 inches
    Hardcover ISBN: 9780195097115
    Paperback ISBN: 9780195097122

    Peter Bakker, Associate professor
    Department of Aesthetics and Communication
    Aarhus University, Aarhus, Denmark

    The Michif language—spoken by descendants of French Canadian fur traders and Cree Indians in western Canada—is considered an “impossible language” since it uses French for nouns and Cree for verbs, and comprises two different sets of grammatical rules. Bakker uses historical research and fieldwork data to present the first detailed analysis of this language and how it came into being.

  • Skin, Inc.: Identity Repair Poems

    Skin, Inc.: Identity Repair Poems

    Graywolf Press
    2010-08-31
    192 pages
    Trim Size: 6 x 9
    Hardcover ISBN: 978-1-55597-567-8
    Paperback ISBN: 978-1-55597-650-7

    Thomas Sayers Ellis, co-Founder
    The Dark Room Collective, Cambridge, Massachusetts

    The ambitious, combative, and spot-on new poetry book by Thomas Sayers Ellis, author of the award-winning The Maverick Room

    Skin, Inc. is Thomas Sayers Ellis’s big, ambitious argument in sound and image for an America whose identity is in need of repair. In lyric sequences and with his own photographs, Ellis traverses the African American and American literary landscapes—along the way adding race fearlessness to past and present literary styles and themes, and perform-a-forming tributes for the Godfather of Soul, James Brown; the King of Pop, Michael Jackson; and the election of President Barack Obama. Part manifesto, part identity repair kit, part plea for poetic wholeness, this collection worries and self-defends, eulogizes and casts a vote, raises a fist and, often, an intimidating song. One sequence is written as a sonic/visual diagram of pronouns and vowels; another quotes from editors’ rejections of his own poetry included in the book; another poem, “Race Change Operation,” begins: “When I awake I will be white, the color of law.” Skin, Inc. is the latest work by one of the most audacious and provocative poets now writing.

  • Praise Song for the Day: A Poem for Barack Obama’s Presidential Inauguration

    Praise Song for the Day: A Poem for Barack Obama’s Presidential Inauguration

    Graywolf Press
    2009-02-06
    28 pages
    Trim Size: 4 5/8 x 6 1/2
    ISBN: 978-1-55597-545-6

    Elizabeth Alexander

    Available in an elegant chapbook, Elizabeth Alexander’s historic poem, read at the 2009 inauguration of President Barack Obama

    On January 20, 2009, Elizabeth Alexander served as the fourth-ever inaugural poet and a central participant in one of the most closely watched inaugurations in American history. Selected by Barack Obama, Alexander composed and delivered her original poem “Praise Song for the Day” to an audience of millions, and now the poem can be read and savored for posterity. Printed on heavy, uncoated stock and bound with French flaps and a silver foil stamp, this collectible chapbook is a cherished reminder of this monumental presidential event.

  • A True History Full of Romance: Mixed marriages and ethnic identity in Dutch art, news media, and popular culture (1883–1955) by Marga Altena (review)

    A True History Full of Romance: Mixed marriages and ethnic identity in Dutch art, news media, and popular culture (1883–1955) by Marga Altena (review)

    Journal of Colonialism and Colonial History
    Volume 15, Number 3, Winter 2014
    DOI: 10.1353/cch.2014.0039

    Eveline Buchheim, Researcher
    NIOD Institute for War, Holocaust and Genocide Studies, Amsterdam, The Netherlands

    Altena, Marga, A True History Full of Romance: Mixed Marriages and Ethnic Identity in Dutch Art, News Media, and Popular Culture (1883-1955) (Amsterdam: Amsterdam University Press, 2012).

    Even before the Second World War, cases of interracial unions had been recorded in the Netherlands, but the greater part of the Dutch public in the late nineteenth and early twentieth centuries still considered these bonds extraordinary. If the possibility of such unions crossed the minds of common Dutch citizens at all, they were mainly associated with colonial life in the Dutch East Indies. Although certainly not unambiguous aspects of colonial life, mixed unions were part and parcel of the Dutch colonial experience. Even in this colonial context, however, unions of White women with Indigenous men were extremely unusual. A European woman who entered such a marriage excluded herself from the community of Europeans. In the Netherlands itself, the term “mixed marriages” was used during this period primarily to refer to unions either outside the individual’s social class or with spouses of a different religious background, an important distinguishing feature in strongly “pillarized” Dutch society. In her book, Altena presents three cases of Dutch White women who, against all odds, married men of color. They did so in a period when it was still quite unusual and—perhaps as a result of this uniqueness—all three of the analyzed marriages figured prominently in the news. The unions were also represented in other cultural media expressions such as fiction. This gives Altena the opportunity to analyze how ethnic identity was constructed in Dutch media from various angles.

    Altena’s first case concerns the marriage of Frederick Taen, the son of a Chinese father and an English mother, to the Dutch woman Mia Cuypers. It is interesting to note that Taen’s partial European roots were apparently completely lost in the public representation. Was this something Taen did on purpose? He might have deemed Chinese roots favorable for his business trade. Cuypers was the daughter of a famous Dutch architect, P.J.H. Cuypers, known among other works for building the Rijksmuseum. The artistic background of the bride and the affluence of the groom made the union interesting enough to be represented in several instances of cultural expression. Mia Cuypers was a special woman in other respects as well; she went against the grain multiple times, first by marrying Frederick Taen, then by divorcing him, and, later, by not totally denying the misalliance.

    The second case is the marriage of Johanna van Dommelen and Angus Montour (Twanietanekan), also known as American Horse, in 1906, the bride an unmarried mother from The Hague, the groom a Mohawk widower from eastern Canada. Altena analyzes the press coverage in both countries. She makes it very clear that for both the bride and the groom their union had several advantages, and shows how they used the media attention to improve their lives.

    The last case that Altena describes is that of the marriage between Marie Borchert and Joseph Sylvester in 1928, in the town of Hengelo. Borchert was the daughter of a well-to-do local family, Sylvester a salesman and entertainer. This couple clearly orchestrated their public performance. This is understandable partly because of how Sylvester earned a living. The case gets really interesting when Altena recalls how the couple used press coverage to raise awareness among their fellow citizens about the use of Black stereotypes.

    By analyzing the three marriages on the basis of how they figured in the public domain, Altena wanted to investigate the representation of ethnic identity in Dutch culture between 1883 and 1955. Altena’s period of research seems rather arbitrary, and primarily relates to events in the personal lives of the three couples. Taen and Cuypers met in 1883 at the International Colonial and Export Trade Exhibition in Amsterdam. The year 1955 marks Joseph Sylvester’s death. In her analysis, Altena focuses on the micro-histories and does not pay much attention to the influence of the spirit of the age under investigation. Her paragraph on the historical and sociocultural context provides a broad outline, but does not really elaborate on the appraisal or disapproval of foreigners in relation to larger historical events. There is no special attention paid to the changing colonial relationship between the Dutch East Indies and the Netherlands of the late nineteenth and early…

  • Poet Natasha Trethewey Explores Public and Personal Histories of Race in America

    Poet Natasha Trethewey Explores Public and Personal Histories of Race in America

    The Aspen Institute
    2015-01-13

    Caroline Tory, Program Coordinator
    Aspen Words, Aspen Colorado

    On a recent winter night, Pulitzer Prize-winning poet Natasha Trethewey addressed an Aspen Words audience in Aspen, CO, on the intersection between art and activism. “[I am] a poet interested not only in the sounds of language and in its beauty, but in its ability to help us deal with our most difficult knowledge and help us move towards justice.”

    Trethewey is the author of four collections of poetry: “Domestic Work,” “Bellocq’s Ophelia,” “Native Guard,” and “Thrall,” as well as a work of nonfiction, “Beyond Katrina: A Meditation on the Mississippi Gulf Coast.” She served two terms as the 19th US poet laureate from 2012 to 2014, and is currently poet laureate of the state of Mississippi. Trethewey also directs the creative writing program at Emory University in Atlanta, where she is Robert W. Woodruff professor of English and creative writing…

    …Trethewey was born in Gulfport, Mississippi, the daughter of parents whose mixed-race marriage was illegal in the state at the time. Her writing includes many references to her father, a poet, professor, and Canadian immigrant, as well as her mother, who was a social worker. Trethewey’s poems weave together the story of her own interracial roots with the history of race in America, while also balancing this narrative with lyricism.

    “It is where the poems shade toward the lyrical that I’m able to get closer to the emotional truth of a poem,” said Trethewey in her talk. As an example, she referenced the poem “Incident” from her Pulitzer Prize-winning collection “Native Guard.” In it she tells the story of the Ku Klux Klan burning a cross on her family’s yard after her grandmother hosted a voter registration drive for disenfranchised African Americans in the 1960s. Reworking an initial draft of the poem, Trethewey restructured it to capture the entire story of the incident in the first four lines. This freed her to use the rest of the poem to highlight other emotional truths, such as the need to remember, which are at least as important as the particular facts of what happened.

    Trethewey read a number of poems that use art as a reference point, including a series from her most recent book “Thrall.” Titled “Taxonomy”, this series of poems is based on a group of Casta paintings from 18th century colonial Mexico, which portrayed mixed blood unions in the colony…

    Read the entire article here.

  • Christmas without Ramadan

    Christmas without Ramadan

    Mixed Roots Stories
    2015-01-09

    Zena F. Itani

    I’ve never really liked Christmas. It was the most forced family event of the year, defined by spectacular displays of anxiety from my mother and bad temper served up by my father, always in time for guests. While that doesn’t sound much different from others’ fun family holidays, there was another layer of dysfunction in it for me. My Dad is Muslim, a fact that we ignored for the entire year, not just on big Christian holidays. December 25th highlighted particularly well the lack of Muslim traditions in my immediate family, despite the fact that Lebanese Muslims outnumbered my English mother’s kin and me and my American siblings.

    Let me walk you through a typical Itani Christmas (you Arabic speakers know how ridiculous the pairing of a large Lebanese Muslim family name and the word “Christmas” is). In the morning, my siblings and I woke up way too early and tore into our presents like obnoxious kids the world over. The gifts broke along gender and culture lines. As the one with the Arabic name and the insatiable curiosity for all things Middle Eastern, I would get the “cultural” gift (a subscription to Foreign Affairs was popular). “You’re so…Oriental,” my mother would often say, perplexed, in her British accent. Um, yeah Mom, did you see the Lebanese guy you married? Just saying…

    Read the entire article here.

  • Young Artists: Saya Woolfalk

    Young Artists: Saya Woolfalk

    W
    November 2008

    Timothy McCahill

    For the last two years Saya Woolfalk has practically lived in No Place, the futuristic work she is creating through painting, sculpture and video. So it’s not surprising that when she talks about it, the line between fact and fiction seems a little fuzzy. More than just a plain old multimedia installation, No Place has its own inhabitants and culture. The bubbly 29-year-old delights in describing every nook and cranny. “I talk about it as if it could be real,” admits Woolfalk, who is completing a yearlong stint as an artist-in-residence at the Studio Museum in Harlem, where No Place was recently shown. “But I never forget that it’s another place.”

    Woolfalk’s world is inhabited by half-human, half-plant figures called No Placeans, who in her paintings are portrayed roaming a psychedelic landscape reminiscent of Yellow Submarine. In one piece, they appear in front of a blue and yellow building surrounded by pink phalluses. As part of the project, Woolfalk filmed the No Placeans—played by the artist, her friends and colleagues—in the style of a documentary…

    …Though the piece grew partly out of Woolfalk’s reflections on utopia, her influences also originate closer to home. Born in Japan to a Japanese mother and an African-American and white father, Woolfalk draws on Japanese anime and traditional African garments for many of her characters and costumes, blending cultures so that her work feels at once foreign and familiar. “Because I’m mixed race, I have this idea that to leave the conversation ambiguous is interesting,” she says…

    Read the entire interview here.

  • Al Madrigal’s New Special ‘Half Like Me’ Is What Latinos Have Been Waiting For

    Al Madrigal’s New Special ‘Half Like Me’ Is What Latinos Have Been Waiting For

    The Huffington Post
    2015-01-13

    Ana Maria Benedetti

    Al Madrigal goes on a journey of self-discovery… starting with how to pronounce his own name.

    In his new one-hour special “Half Like Me,” premiering on Fusion on January 22, The Daily Show’s senior Latino correspondent travels across the U.S. to discover what it means to be half Mexican and half white.

    “Being half has always been confusing,” Madrigal says in the preview for the special. “White people think you’re Mexican and Latinos give me shit about not being Latino enough.”…

    Read the entire article here.