Mixed Race Studies

Scholarly perspectives on the mixed race experience.

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  • A Conversation with Lawrence Hill

    A Conversation with Lawrence Hill

    Callaloo
    Volume 36, Number 1, Winter 2013
    pages 5-26
    DOI: 10.1353/cal.2013.0072

    Winfried Siemerling, Professor of English
    University of Waterloo, Ontario, Canada

    When Paul Gilroy in The Black Atlantic offered an alternative account of modernity that placed transnational, black transatlantic lives and cultures at the center, Canada was not on his map. Slavery, however, did not stop at the borders first of New France and then the Canada’s until it was abolished in the British Empire in 1834, and the Underground Railroad made Canada an important site of black writing especially after the Fugitive Slave Act of 1850. To be fair, the current surge of impressively strong African Canadian writing, heralded by some authors and anthologies since the 1960s and 1970s, was still gathering steam in the early 1990s.

    Lawrence Hill, a novelist and nonfiction writer whose parents immigrated to Canada from the United States after WWII, has become one of the most important contributors to black culture here. His first novel, Some Great Thing (1992), was followed by Any Known Blood (1997), a multi-generational border-crossing novel in which the allusively named Langston Cane V explores his own mixed race and family. In the process, he uncovers a forebear’s slave narrative that recounts his involvement in John Brown’s raid on Harpers Ferry. Hill’s third novel, The Book of Negroes (2007), is a neo-slave narrative in its entirety that redraws the map of Gilroy’s black Atlantic. The protagonist Aminata, abducted in West Africa, flees first from slavery in South Carolina, then from Americans taking control of New York in 1783, and finally from Nova Scotia to return to Africa. She travels to Sierra Leone in 1792, and from there sails to London to support the abolition of the slave trade. In Hill’s transfiguration of these historical events, Aminata herself becomes a scribe of Guy Carleton’s “Book of Negroes,” recording the 1783 black exodus from New York. The use of the word “Negroes” in Hill’s title, although taken from that historical document, has proven controversial, and the novel appeared in the United States, New Zealand, and Australia as Someone Knows My Name. A breakthrough for Hill internationally, the novel won among other awards the Commonwealth Writers’ Prize and the Rogers Writers’ Trust Fiction Prize.

    Hill’s work offers United States readers an especially inviting entrance into contemporary black Canadian literature, not only because of his fiction’s frequent transborder thematic but also since his nonfiction—€”for example Black Berry, Sweet Juice: On Being Black and White in Canada—often speaks to issues of race from a United States-Canadian comparative perspective. The following interview conversation, though concentrating on the novels, seeks to provide an introduction to his entire career, including his formative travels in Africa. It is divided by short subtitles for orientation and ease of reading.

    Early Writing and Travels in Africa

    Siemerling:

    In your last novel, The Book of Negroes (named after a historical document but published in the United States as Someone Knows My Name), you thematize the back-to-Africa journey of 1,200 people from Nova Scotia to Sierra Leone in 1792, and you talk about the fact that it is the first one historically. We also know that for many people still today it is a very emotional and important event, to “go back” to Africa.

    Hill:

    Yes, and many people of African American or African Canadian origin are seeking some sort of validation from or connection with the motherland. It’s a connection with one’s extended family, metaphorically. Of course, why should a typical African who is selling coffee in his street stand in Niamey, Niger, look at some kid from Toronto and say “hey, here’s my brother.” Sorry, that’s just not going to happen, especially with the way I look, which to many of them was white. Many African Americans and African Canadians have observed this kind of rocky reception that they received. When I went there, I wanted to be welcomed as one of the race and have my blackness celebrated. I wanted to be brought into the arms of my people, in a way. And it’s a natural thing for a twenty-two-year-old to…

  • The Place in Between: An Interview with Esi Edugyan

    The Place in Between: An Interview with Esi Edugyan

    Callaloo
    Volume 36, Number 1, Winter 2013
    pages 46-51
    DOI: 10.1353/cal.2013.0070

    Maaza Mengiste

    Esi Edugyan’s 2011 Man Booker Prize finalist, Half-Blood Blues, opens with the lines, “Chip told us not to go out. Said, don’t you boys tempt the devil.” It is 1940 in Nazi-occupied Paris and the “boys” include Afro-German, Jewish, and African-American members of a jazz band who have recently fled an increasingly dangerous Berlin. They are living under a terrifying regime, trapped as much by the color of their skin as the curfews and constant presence of the Gestapo. Told from the perspective of Sid, an African-American bassist who left pre-civil rights era Baltimore to escape racial segregation, it is Hiero, the incomparably gifted trumpeter player, who holds the band together. But Half-Blood Blues is more than a book about music. Edugyan illuminates one of the forgotten victims of Nazi Germany’s ruthless quest for a racially “pure” state: the “Rhineland Bastards,” mixed-race Germans whose stories were lost when they went into hiding, fled, or disappeared into concentration camps. Hiero is one of those “mischlings,” and through him, we begin to understand how encompassing a denied history can be. But perhaps more than anything, this is a story about friendship, betrayal, loyalty, and the possibility of redemption through music. To read Half-Blood Blues is to hear jazz and the ache of regret through prose. Garnering nominations and awards internationally, the book has kept Edugyan on a busy, hectic schedule. It was my honor to have the chance to catch her in a quiet moment to talk about her book.

    Mengiste:

    I want to just jump right in and talk a little bit about the book’s setting and its characters. Part of the story takes place in 1940 Paris and Nazi Germany. What was your motivation for writing about this moment in history? What got you really interested in it, and these characters?

    Edugyan:

    I think I’ve always had a fascination with that period of history. It was such an extreme time in terms of what was happening everywhere, but especially in Europe, in those initial months when the Third Reich came to power. It was very fascinating for me. I had been living in Germany for about a year and a half, over two separate periods. The first time I was there for about thirteen months, learning German and really trying to immerse myself in the culture. And being a black woman living in Southern Germany, I started to wonder about the history of black people in Europe in general, but specifically in Germany. And so I did some research and discovered the story about the Rhineland Bastards—or the so-called “Rhineland Bastards.” That’s how I came to focus on this period that I had done quite a bit of reading on over my lifetime. It was interesting to me.

    Mengiste:

    When you were researching these Rhineland Bastards, these children born to black soldiers and German mothers in the period following WWI, what guided your decision to make your characters musicians?

    Edugyan:

    I have a very strong interest in music and grew up with a very strong interest in music even though I was never able to play the instruments very well. So, I’d been working on a project about a different kind of musician, a classical musician. And when I was in Germany, I started putting that aside and turning my sights to jazz musicians. And this was, in large part, because I quite love jazz. I’m not a huge expert on it, I’ll admit that, but what I’ve heard I really like. But also because I knew that Germany had gone through a big jazz age in the twenties, you know, there was a big avant-garde time after the First World War. So then you start to think about “well, what would happen to all of those musicians once the Third Reich took power?” And, you know, it was something that I certainly didn’t know anything about, so I just had to do…

  • Jean Toomer: The Fluidity of Racial Identity

    Jean Toomer: The Fluidity of Racial Identity

    Face to Face: A blog from the National Portrait Gallery
    Smithsonian Institution
    2012-07-20

    Elizabeth Brevard, Intern
    Catalog of American Portraits
    National Portrait Gallery


    Jean Toomer / Marjorie Content / Gelatin silver print, c. 1934 / National Portrait Gallery, Smithsonian Institution ©Susan L. Sandberg

    An author, philosopher, and spiritual adviser, Washington, D.C., native Jean Toomer (1894–1967) challenged the accepted race and social labels during the mid-twentieth century. Toomer’s father left his wife and son in 1895, forcing the single mother to move in with her father, Pinckney Benton Stewart Pinchback, the former governor of Louisiana during Reconstruction and the first U.S. governor of African American descent.

    Toomer was of European and African American ancestry, which sometimes allowed him to pass in society as a white man. For example, his registration for the draft identifies him as African American, but both of his certificates of marriage to white women list him as white (Byrd and Gates).

    Most of his formative years were spent in all-white neighborhoods, although he attended the all-black Dunbar High School in Washington. The profound and varied racial influences within Toomer’s life would inspire his writing and his philosophical pursuit to transcend the self, as seen in his novel Cane and his poem “The Blue Meridian.”

    After his graduation from high school in 1914, Toomer questioned the labeling of race according to skin color, instead embracing his self-appointed identity as an “American.” In his words:

    I wrote a poem called “The First American,” the idea of which was that here in America we are in the process of forming a new race, that I was one of the first conscious members of this race. . . . I had seen the divisions, the separatisms and antagonisms . . . [yet] a new type of man was arising in this country—not European, not African, not Asiatic—but American. And in this American I saw the divisions mended, the differences reconciled—saw that (1) we would in truth be a united people existing in the United States, saw that (2) we would in truth be once again members of a united human race (Turner, ed., The Wayward and the Seeking, p. 121)…

    Read the entire article here.

  • There are some things, as black men, we can only do for ourselves.

    But along with collective responsibilities, we have individual responsibilities. There are some things, as black men, we can only do for ourselves. There are some things, as Morehouse Men, that you are obliged to do for those still left behind. As Morehouse Men, you now wield something even more powerful than the diploma you’re about to collect—and that’s the power of your example.

    President Barack Obama, “Morehouse College Commencement Speech,” (Atlanta, Georgia, May 19, 2013). http://www.ajc.com/news/news/local/president-obamas-morehouse-commencement-speech/nXwqt/

  • Bullying Pulpit: Racism, Barack Obama and the Selective Call for Personal Responsibility

    Bullying Pulpit: Racism, Barack Obama and the Selective Call for Personal Responsibility

    Tim Wise, Antiracist Essayist, Author and Educator
    2013-05-19

    Tim Wise

    Sometimes, white privilege isn’t about stuff. It’s not always about better opportunities, or more money, or even greater access to those things than people of color.

    Sometimes, white privilege is as simple as knowing that, generally speaking, if you’re white, you’ll be perceived as competent and hard-working until proven otherwise, while people of color — even those who have proven themselves competent and hard-working — will still be subjected to presumptions that they just might not be, and that somehow, they (but not you) need to be reminded of the importance of hard-work and personal responsibility, lest they (but never you) revert to some less impressive group mean.

    To wit, President Obama’s commencement address today at Morehouse College — one of the nation’s preeminent institutions of higher learning, and perhaps its most famous historically black college or university — during which, among plenty of rather standard commencement speech boilerplate, the president lectured this year’s graduates about the importance of taking personal responsibility for their lives, and not blaming racism for whatever obstacles they may face in the future.

    It’s hard to know what’s more disturbing.

    Either that President Obama thinks black grads at one of the nation’s best colleges really need to be lectured about such matters; or, alternately, that White America is so desirous of exculpation for the history of racial discrimination that we need him to say such things, and he knows it, thereby feeding us the moral scolding of black men we so desperately desire and love to hear.

    Either way, the result is tragic…

    Read the entire article here.

  • Obama Urges Morehouse Graduates to ‘Keep Setting an Example’

    Obama Urges Morehouse Graduates to ‘Keep Setting an Example’

    The New York Times
    2013-05-19

    Mark Landler

    ATLANTA — President Obama came to Morehouse College, the alma mater of the Rev. Dr. Martin Luther King Jr., on Sunday to tell graduates, 50 years after Dr. King’s landmark “I Have a Dream” speech in Washington, that “laws and hearts and minds have been changed to the point where someone who looks just like you can somehow come to serve as president of these United States.” [Read the transcript here.]

    The president tied Dr. King’s journey to his own, speaking in forthright and strikingly personal terms about his struggles as a young man with an absent father, a “heroic single mom,” and the psychological burdens of being black in America.

    He also issued a challenge to the graduating class, imploring the young men of Morehouse, the nation’s only historically black, all-male college, to be responsible family men, to set an example, and to extend a hand to those less privileged than them.

    While Mr. Obama has struck these themes before, he has rarely done so in such unsparing terms. After a week in which his presidency seemed adrift on a sea of controversies, the speech served as both a reminder of his historic role and an emphatic change of subject.

    “We know that too many young men in our community continue to make bad choices,” Mr. Obama said. “And I have to say, growing up I made quite a few myself. Sometimes I wrote off my own failings as just another example of the world trying to keep a black man down.”…

    Read the entire article here.

  • Ellen Gallagher at Tate Modern

    Ellen Gallagher at Tate Modern

    The Telegraph
    2013-05-02

    Alastair Smart, Arts Editor of the Sunday Telegraph

    In this solid retrospective, America’s Ellen Gallagher subtly mixes pretty abstraction with reference to her black heritage, says Alastair Smart.

    I sometimes feel sorry for artists today. Not in the sense that I’d make a £2 monthly donation for their welfare or anything.

    Rather that today’s artist is expected to produce work that’s not just visually striking but conceptually clever. Brains must match looks, and woe betide anyone whose art isn’t deemed “deep” enough to inspire reams of post-structuralist theory.

    America’s Ellen Gallagher, now the subject of a Tate retrospective, negotiates this tightrope better than most. Drawing on her mixed-race heritage (with a father from the Cape Verde Islands), she infuses works of minimalist abstraction with subtle references to black history.

    Watery Ecstatic, her ongoing series of watercolours and incised paper collages, features all manner of delicately-rendered marine life: from eels, jellyfish and seaweed to fantastical sea monsters. Their intricacy recalls that of old whalers’ scrimshaw – with an unexpected twist…

    Read the entire review here.

  • The Forging of the Cosmic Race: A Reinterpretation of Colonial Mexico. [Book Review]

    The Forging of the Cosmic Race: A Reinterpretation of Colonial Mexico. [Book Review]

    The Journal of San Diego History
    Volume 27, Number 3 (Summer 1981)

    W. Michael Mathes (1936-2012), Professor of History
    University of San Francisco

    The Forging of the Cosmic Race: A Reinterpretation of Colonial Mexico. By Colin M. MacLachlan and Jaime E. Rodríguez O. Berkeley: University of California Press, 1980. Bibliography. Illustrations. Index. Maps. 362 pages.

    In general, Mexico’s colonial past has been interpreted as a negative experience by modern scholars. Within Mexico this interpretation is based primarily upon political concepts which idealize pre-Cortesian culture and condemn Spain as a cruel, autocratic nation which forcefully imposed itself upon Aztec civilization through bloody conquest. Foreign scholars either adhere to this “Black Legend” concept or, in a more revisionary sense, simply condemn colonialism as an institution. This new study presents a positive approach to the three centuries of Spanish domination in Mexico as an integral part of national evolution, not as a better-to-be forgotten period of darkness.

    The basis for the development of Colonial Mexico, New Spain, is seen as mestizaje, the fusion of Indian and European culture which began with the conquest in 1519. In that Aztec and Spanish society shared more similarities than differences, mestizaje produced a dynamic new race, referred to by José Vasconcelos as “Cosmic,” the “Mexican.” As an integral part of society within New Spain, the mestizo is seen as the prime mover of economic growth and cultural homogeneity…

    Read the entire review here.

  • Ellen Gallagher: AxME

    Ellen Gallagher: AxME

    Tate Modern: Exhibition
    Bankside
    London SE1 9TG
    2013-05-01 through 2013-09-01

    Ellen Gallagher is one of the most acclaimed contemporary artists to have emerged from North America since the mid-1990s. Her gorgeously intricate and highly imaginative works are realised with a wealth of virtuoso detail and wit. This is her first major solo exhibition in the UK, providing the first ever opportunity to explore an overview of her twenty-year career.

    Gallagher brings together imagery from myth, nature, art and social history to create complex works in a wide variety of media including painting, drawing, relief, collage, print, sculpture, film and animation. The exhibition explores the themes which have emerged and recurred in her practice, from her seminal early canvases through to recent film installations and new bodies of work.

    In her series of wig-map grid collages, Double Natural, POMP-BANG, and eXelento, Gallagher has appropriated and incorporated found advertisements for hair and beauty products from the 1930s to the late 1970s from publications such as Ebony, Our World, and Black Stars. These advertisements fostered ideals in black beauty through wigs and hair adornments, which Gallagher has then recontextualised, collaging the Afro wig elements and embellishing them with plasticine. As she comments: ‘The wig ladies are fugitives, conscripts from another time and place, liberated from the “race” magazines of the past. But again, I have transformed them, here on the pages that once held them captive.’…

    For more information, click here.

  • The Forging of the Cosmic Race: A Reinterpretation of Colonial Mexico

    The Forging of the Cosmic Race: A Reinterpretation of Colonial Mexico

    University of California Press
    December 1980
    408 pages
    Paperback ISBN: 9780520042803

    Colin M. MacLachlan, Professor of History
    Tulane University, New Orleans, Louisiana

    Jamie E. Rodríguez, Professor of History
    University of California, Irvine

    “The Forging of the Cosmic Race” challenges the widely held notion that Mexico’s colonial period is the source of many of that country’s ills. The authors contend that New Spain was neither feudal nor pre-capitalists as some Neo-Marxist authors have argued. Instead they advance two central themes: that only in New Spain did a true mestizo society emerge, integrating Indians, Europeans, Africans, and Asians into a unique cultural mix; and that colonial Mexico forged a complex, balanced, and integrated economy that transformed the area into the most important and dynamic part of the Spanish empire.

    The revisionist view is based on a careful examination of all the recent research done on colonial Mexican history. The study begins with a discussion of the area’s rich pre-Columbian heritage. It traces the merging of two great cultural traditions—the Meso-american and the European—which occurred as a consequence of the Spanish conquest. The authors analyze the evolution of a new mestizo society through an examination of the colony’s institutions, economy, and social organization. The role of women and of the family receive particular attention because they were critical to the development of colonial Mexico. The work concludes with an analysis of the 18th century reforms and the process of independence which ended the history of the most successful colony in the Western hemisphere.

    The role of silver mining emerges as a major factor of Mexico’s great socio-economic achievement. The rich silver mines served as an engine of economic growth that stimulated agricultural expansion, pastoral activities, commerce, and manufacturing. The destruction of the silver mines during the wars of Independence was perhaps the most important factor in Mexico’s prolonged 19th century economic decline. Without the great wealth from silver mining, economic recovery proved extremely difficult in the post-independence period. These reverses at the end of the colonial epoch are important in understanding why Mexicans came to view the era as a “burden” to be overcome rather than as a formative period upon which to build a new nation.

    Contents

    • List of Illustrations and Maps
    • Acknowledgments
    • Introduction
    • Part One
      • 1. The Setting
      • 2. Ancient Mexico
      • 3. The Mexica-Aztecs
      • 4. The Birth of New Spain, 1519-1530
    • Part Two
      • 5. The Institutional Process
      • 6. The Economy
      • 7. Society
      • 8. Women and the Family
    • Part Three
      • 9. Rationalization, Reform, and Reaction
      • 10. The Process of Independence
      • 11. A Rejected Legacy
    • Bibliographical Essay
    • Sources for Illustration
    • Index