Mixed Race Studies

Racecraft: Stories of Racial Passing

Los Angeles Review of Books
2014-12-05

Lucy McKeon, Writer and Photographer
New York, New York

THE VERY NOTION of racial “passing” implies a test. Those who believed clear racial categorization was possible might test for race by measuring physical traits to indicate “blood purity”: slight physical traits that could be identified, such as the half-moon of a nail bed or the whites of ones eyes. In apartheid South Africa, the “pencil test” was devised: categorizing people based on whether a pencil would remain or fall from their hair. Physical markers were used to fix and control whole futures.

“White people were so stupid about such things,” says Irene, the narrator of Nella Larsen’s Passing (1929). “They usually asserted that they were able to tell; and by the most ridiculous means, finger-nails, palms of hands, shapes of ears, teeth.”

To pass the faulty test of white scrutiny is not difficult; Larsen’s Passing, and other 18th to 20th century fiction and 20th century film, work to demonstrate that categorization by race relies on arbitrary rules and unsound logic — proving, in other words, the falsely naturalized or socially constructed nature of “race” itself. As Stanford historian Allyson Hobbs reminds us in her recent cultural history A Chosen Exile: A History of Racial Passing in American Life, the gains and losses of racial passing — when someone from one racial group “passes,” or is accepted, as another — were historically contingent, like “race” itself. Indeed, one’s semblance could rarely be taken as trustworthy evidence. “Skin color and physical appearance were usually the least reliable factors,” writes Hobbs, “whereas one’s associations and relationships were more predictive” of who was deemed white and who was not. If white people can’t actually tell who is white and who isn’t, whiteness is exposed as simply the external perception of being white — the privilege, power, and civic membership afforded to someone recognized as such. This is white supremacy in practice.

Michael Yudell’s Race Unmasked examines the history of the concept of biological race — in large part tied to the history of genetics, which “at its founding was inseparable from eugenics theories” — in order to show that race is “neither a static biological certainty nor a reflection of our genes. Instead, race is a historical and cultural phenomenon.” We’ve known this, of course. But Yudell’s recent book provides scientific documentation of the process of “racecraft,” a term coined by Karen Fields and Barbara Fields in their 2012 book by the same name: the “mental terrain” where our deep and pervasive belief in race as meaningful is conjured, then ritualized into reality. “Race” comes to explain social effects like poverty, as witchcraft might explain failing crops. What’s real is not “race,” but the ideology of racism: the belief in “race” as a tool with which to rationalize cause and consequence.

In this way, while both fictive and biographical representations of passing demonstrate the absurdity of “race,” they also emphasize the very real effects of racial categorization. From the point of view of those passing, Hobbs writes,

race was neither strictly a social construction nor a biological fact. The line between black and white was by no means imaginary; crossing it had profound, life-changing consequences. Race was quite real to those who lived with it, not because of skin color or essentialist notions about biology, but because it was social and experiential, because it involved one’s closest relationships and one’s most intimate communities.

Passing, in other words, demonstrates how “race” is both socially constructed and, as experienced, extremely meaningful.

Hobbs focuses on the experience of great loss in her cultural history of passing. As she points out, “Historians and literary scholars have paid far more attention to what was gained by passing as white than to what was lost by rejecting a black racial identity.” But “racial passing is an exile, sometimes chosen, sometimes not.”…

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Here, There, and In Between: Travel as Metaphor in Mixed Race Narratives of the Harlem Renaissance

University of Massachusetts, Amherst
2014-05-09

Colin Enriquez
English Department

Created to comment on Antebellum and Reconstruction literature, the tragic mulatto concept is habitually applied to eras beyond the 19th century. The tragic mulatto has become an end rather than a means to questioning racist and abolitionist agendas. Rejecting the pathetic and self-destructive traits inscribed by the tragic label, this dissertation uses geographic, cultural, and racial boundary crossing to theorize a rereading of mixed race characters in Harlem Renaissance literature. Focusing on train, automobile, and boat travel, the study analyzes the relationship between the character, transportation, and technology whereby the notion of race is questioned. Furthermore, the dissertation divides travel into departure, interstitial, and arrival phases. With the ability to extend perception and experience, media is also interpreted here as transportation. Using figurative and literal travel, the selected narratives move between localities to allegorize 20th mixed race subjectivity. Socially ambiguous and anonymous, interstitial moments suspend the normative performance of race and enable the selected authors’ investigations of race binarism. After the introduction establishes a theoretical frame composed of transnational and migration studies methods, the ensuing chapters demonstrate the interpretive function of travel in Jean Toomer’s Cane, Nella Larsen’s Quicksand, and Walter White’s Flight. This reading is aided by the connection between modernism and mixed race identity as expounded upon in the works of Robert E. Park, Mark Whalan, Cherene Sherrard-Johnson, Jeanne Scheper. However, it differs from these in its assertion of travel as an interpretive mode for mixed race literature as a tradition.

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The Penumbral Spaces of Nella Larsen’s Passing: Undecidable bodies, mobile identities, and the deconstruction of racial boundaries

Gender, Place & Culture: A Journal of Feminist Geography
Volume 13, Issue 3, 2006
pages 227-246
DOI: 10.1080/09663690600700972

Perry L. Carter, Assistant Professor of Human Geography
Texas Tech University

Nella Larsen’s 1929 novel, Passing, is a psychological drama centering around two fair-skinned women. One, Clare Kendry, passes as the White wife of a financially successful racist; the other, Irene Redfield, is a ‘race woman’ living in upper Manhattan during the era of the Renaissance Harlem. Clare and Irene are undecidables, neither White nor Black, fluid subjects traversing the boundaries of race—passing. Passing is an act of insinuating oneself into forbidden spaces by jettisoning former identities. It is as much a transgression of spatial boundaries as it is of racial boundaries. In the novel Clare passes by merely crossing from Black space into White space, and along the way shedding a Black identity for a White one. This paper examines the mobility of identities across racial geographies and how this movement destabilizes notions of race and of raced spaces.

We encounter the world in our bodies, and through our bodies’ most exquisitely sensitive sense, our skins, we take the world into ourselves. We have made and remade a world where nearly every experience is shaded and shaped by the color of those bodies, the tones of those skins. (Jane Lazarre, Beyond the Whiteness of Whiteness: memoir of a White mother of Black sons, 1997, p. 94)…

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Reading Race in Nella Larsen’s Passing and the Rhinelander Case

African American Review
Voluume 46, Numbers 2-3, Summer/Fall 2013
pages 345-361
DOI: 10.1353/afa.2013.0076

Rebecca Nisetich, Assistant Director, Honors Program
University of Southern Maine

Toward the end of Nella Larsen’s Passing (1929), the protagonist Irene Redfield imagines how her friend Clare Kendry’s racist husband might react if he discovers his wife’s “true” racial identity: “What if Bellew should divorce Clare? Could he? There was the Rhinelander case.” This essay argues that what seems like a casual reference to a contemporary event actually underscores a central theme of the novel: the Rhinelander case and Passing both illustrate the problematic ways Americans sought to categorize mixed-race individuals in the 1920s, but while the Rhinelander verdict denies the existence of a middle ground between racial absolutes, the novel affirms it. Larsen directly references the Rhinelander case only once, but its themes echo throughout the text of Passing, which challenges the visibility of race and the conception of racial identity as intimately connected to one’s essential self. Irene’s reference calls to mind a very public trial that forced Americans to question their understanding of racial difference. In Passing, Larsen explores the conceptions of race as a real physical fact and as an imagined social construct, and challenges the logic of “common knowledge” and visibility in assigning racial identity to individuals.

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English 4640G: Construction of Racial Identity in Post Civil War America

Huron University College at Western University
London, Ontario, Canada
Winter 2013

Neil Brooks, Associate Professor, English

Course Description: Toni Morrison’s Playing in the Dark: Whiteness and the Literary Imagination argues that the canonical American literary tradition can only be understood after recognizing the presence of an often silenced, but almost ubiquitous Africanist persona. This persona served as a negative stereotype against which the dominant American identity could define itself. However, even Morrison’s groundbreaking work re-inscribes the binary between Black and White in America and fails to theorize adequately the ways in which bi-racial and multi-racial identity have complicated the ideologies she discusses. This course will begin with Morrison’s analysis and then look at several novels and stories which the explore the instability of any color line between Black and White in America.

Course Objectives: This course addresses the examination of how racial identity, particularly mixed race identity, is constructed in America through close engagement with selected literary works written by Americans since the end of the Civil War. By the end of the course students should have improved their critical reading and writing in ways which will enable their success in a wide variety of University courses. Further, students will have learned American historical background, feminist literary theory, patterns of racial construction, theories of performativity, and skills in analyzing artistic achievement within the works. Finally, the course aims to provide the framework for applying these skills and knowledge in engaging with the narratives students will encounter and create outside the classroom.

Course Material:

• Playing in the Dark, Toni Morrison
• Pudd’nhead Wilson, Mark Twain
• The Autobiography of an Ex-Colored Man, James Weldon Johnson
• Quicksand, Nella Larsen
• Invisible Man, Ralph Ellison
• Tar Baby, Toni Morrison
• Caucasia, Danzy Senna

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350:445 Revisiting Racial Passing in the 21st Century

Rutgers, The State University of New Jersey
Summer 2013

This is a course on racial passing, which many people wrongly believe is an antiquated phenomenon. Passing has historically referred to light-skinned African Americans who use their phenotypes to pretend to be white and enjoy the privileges of whiteness. As we will discuss in our seminar, today people pass in a variety of ways, and not just racially. For example, folks regularly pass economically, religiously, and/or through gender. In discussing contemporary passing, we will begin with President Barack Obama, who some have argued has engaged in a form of passing by having black skin yet “white politics.”

We will read primary and secondary material on this literary genre, to determine the tropes, images, themes, and formal elements that comprise “the passing narrative.” We will also consider the ways in which it has been expanded in this “post-race” era.

Primary texts will include:

• James Weldon Johnson’s The Autobiography of an Ex-Colored Man
• Nella Larsen’s Passing
• Jessie Fauset’s Plum Bun
• Danzy Senna’s Caucasia
• Philip Roth’s The Human Stain
• Brooke Kroeger’s Passing (collection of contemporary personal narratives)
• Short Stories by Chester Himes, Langston Hughes, and Alice Moore Dunbar Nelson.

Films will include: “Imitation of Life” (1934 & 1959) and “The Human Stain” (2003).

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Deconstructing the Mixed-Race Experience of Passing

California State University, San Marcos
May 2006
172 pages

Victoria Baldo Segall

A Thesis Submitted for Partial Fulfillment of the Requirements for the Degree of Master of Arts in Literature and Writing Studies

In “Beauty and the Beast: On Racial Ambiguity” Carla Bradshaw describes passing as an attempt to achieve acceptability by claiming membership in some desired group while denying other racial elements in oneself thought to be undesirable (79). In literature on passing, the mixed-race individual may, as Bradshaw suggests, become a “chameleon” if s/he desires; s/he may choose to pass as one race over another and blend with one race for reasons such as self-preservation. Bradshaw’s description of passing as gaining “false access” to a particular group or identity aides in setting thetone for passing as a harmful experience for the mixed-race individual. Specifically, this thesis will show that, as we’ll see with Nella Larsen’s “Passing,” Danzy Senna’s Caucasia, and Hanif Kureishi’s The Buddha of Suburbia, not only does passing present the instability of race, but it emotionally and physically destroys the mixed-race individual; the characters have the power and ability to perform and live within different racial worlds, but through their passing they ultimately disempower the non-dominant race of which they are a part and empower the dominant race.

To support this argument, Chapters One through Three will explore how, imbedded within all three texts, there are four themes in particular that play influential roles in the discussion of mixed-race identity and its relation to passing:

• fixed identity vs. unfixed identity
• performance of identity
• displacement
• racial consciousness

Table of Contents

• I. Introduction
• II. Chapter One: The Fall of Nella Larsen’s “Passing”
• III. Chapter Two: The Supposed Super Hybrid Birdie of Danzy Senna’s Caucasia
• IV. Chapter Three: The Problem with Hybrid Vigor in Hanif Kureishi’s The Buddha of Suburbia
• V. Conclusion

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“Makin a way Outta no way:” The dangerous business of racial masquerade in Nella Larsen’s Passing

Women & Performance: a journal of feminist theory
Volume 15, Issue 1 (2005)
pages 79-104
DOI: 10.1080/07407700508571489

Carlyle Van Thompson, Acting Dean, School of Liberal Arts and Education
Medgar Evers College, the City University of New York

Early in Nella Larsen’s Passing (1929), Clare Kendry Bellew and Irene Westover Redfield (the light-skinned and middle-class black female protagonists) are both passing for white in Chicago at an elite and segregated restaurant atop the Drayton Hotel during the horrid heat of August. Here, in this coincidental meeting of two childhood friends, Irene and Clare have a conversation about the possibility of permanently assuming a white identity. Irene, who only passes sometime, superciliously relates her reason for not permanently passing herself off as white: “‘You see Clare, I’ve everything I want. Except, perhaps a little more money'” (1929, 190). in contrast, Clare responds: “‘Of course…that’s what everybody wants just a little more money, even the people who have it. And I must say I don’t blame them. Money’s awful nice to have. In fact, all things considered, I think, ‘Rene, that it’s even worth the price'” (1929, 190). Larsen reveals that economic security is a critical concern in the lives of these middle-class black women. Despite the vulnerabilities of revelation, Clare adamantly believes that the monetary and social advantages of passing for white surpass the disadvantages. Class, as inflected by gender within the nexus of race, con-…

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“I Want to be Nothing”. Challenging Notions of Culture, Race and Identity

Studia Humanistyczne AGH
Volume 10, Issue 2 (2011)
pages 75-83

Agata Lubowicka
University of Gdansk, Poland

This article tackles the issue of “hyphenated identities” in Heidi W. Durrow’s novel The Girl Who Fell from the Sky (2010), whose main topic is growing up as a girl of mixed race in a dominant black culture. This article examines how Rachel Morse, the main character in the novel, challenges racism and the essentialist notion of identity. Firstly, Stuart Hall and Paul Gilroy’s approaches to that issue are introduced and discussed. Then in relation to their theories an interpretation of Durrow’s fictional character is delivered. As the third part of the article, elements of Danish culture appearing in Durrow’s are presented and analyzed as well as the novel’s explicit intertextual references to Nella Larsen’s authorship, another mulatto woman writer of half-Danish origin. In accordance with Gilory’s theory, the article’s aim is to show that Rachel’s identity is born in the process of self-reflection where Danishness becomes her ‘crossroads’ and thus to confirm that such phenomena as culture, ethnicity and identity are constantly constructed and altered.

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Interracial Encounters: Reciprocal Representations in African and Asian American Literatures, 1896-1937

New York University Press
October 2011
228 pages
Hardcover ISBN: 9780814752555
Paper ISBN: 9780814752562

Julia H. Lee, Assistant Professor of English and Asian American Studies
University of Texas, Austin

2013 Honorable Mention, Asian American Studies Association’s prize in Literary Studies

Why do black characters appear so frequently in Asian American literary works and Asian characters appear in African American literary works in the early twentieth century? Interracial Encounters attempts to answer this rather straightforward literary question, arguing that scenes depicting Black-Asian interactions, relationships, and conflicts capture the constitution of African American and Asian American identities as each group struggled to negotiate the racially exclusionary nature of American identity.

In this nuanced study, Julia H. Lee argues that the diversity and ambiguity that characterize these textual moments radically undermine the popular notion that the history of Afro-Asian relations can be reduced to a monolithic, media-friendly narrative, whether of cooperation or antagonism. Drawing on works by Charles Chesnutt, Wu Tingfang, Edith and Winnifred Eaton, Nella Larsen, W.E.B. Du Bois, and Younghill Kang, Interracial Encounters foregrounds how these reciprocal representations emerged from the nation’s pervasive pairing of the figure of the “Negro” and the “Asiatic” in oppositional, overlapping, or analogous relationships within a wide variety of popular, scientific, legal, and cultural discourses. Historicizing these interracial encounters within a national and global context highlights how multiple racial groups shaped the narrative of race and national identity in the early twentieth century, as well as how early twentieth century American literature emerged from that multiracial political context.

Contents

• Acknowledgments
• 1. Introduction
• 2. The “Negro Problem” and the “Yellow Peril”: Early Twentieth-Century America’s Views on Blacks and Asians
• 3. Estrangement on a Train: Race and Narratives of American Identity in The Marrow of Tradition and America through the Spectacles of an Oriental Diplomat
• 4. The Eaton Sisters Go to Jamaica
• 5. Quicksand and the Racial Aesthetics of Chinoiserie
• 6. Nation, Narration, and the Afro-Asian Encounter in W. E. B. Du Bois’s Dark Princess and Younghill Kang’s East Goes West
• 7. Coda
• Notes
• Bibliography
• Index
• About the Author