Mixed Race Studies

How Jean Toomer Rejected the Black-White Binary

The Paris Review
2019-01-14

Ismail Muhammad

…to be a Negro is—is?—
to be a Negro, is. To Be.

—from “Toomer,” by Elizabeth Alexander

Jean Toomer had a complex relationship to his first and only major publication, the 1923 book Cane. The “novel,” which Penguin Classics has recently reissued with an introduction by the literary scholar George Hutchinson and a foreword by the novelist Zinzi Clemmons, is a heterogeneous collection of short stories, prose vignettes, and poetry that became an unlikely landmark of Harlem Renaissance literature. Its searching fragments dramatize the disappearance of African-American folk culture as black people migrated out of the agrarian Jim Crow South and into Northern industrial cities. It is a haunting and haunted celebration of that culture as it was sacrificed to the machine of modernity. Toomer termed the book a “swan song” for the black folk past.

The literary world was then (as it is now, perhaps) hungry for representative black voices; as Hutchinson writes, “Many stressed the ‘authenticity’ of Toomer’s African-Americans and the lyrical voice with which he conjured them into being.” This act of conjuring lured critics into reflexively accepting the book as a representation of the black South—and Toomer as the voice of that South. As his one-time friend Waldo Frank remarked in a forward to the book’s original edition, “This book is the South.” Cane transformed Toomer into a Negro literary star whose influence would filter down through African-American literary history: his interest in the folk tradition crystallized the Harlem Renaissance’s search for a useable Negro past, and would be instructive for later writers from Zora Neale Hurston to Ralph Ellison to Elizabeth Alexander…

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Racial Identity Choice and its Consequences: A Study on Elizabeth Alexander’s Race

Annual International Conference on Language and Literature
Medan, Indonesia
2020-11-04 through 2020-11-05
Published 2021-03-11
Pages 17-27
DOI: 10.18502/kss.v5i4.8661

Nur Saktiningrum
Department of English
Gadjah Mada University of Yogyakarta, Indonesia

Race, as people understand it, is something that you were born with. One was born with specific physical features that by social construction, define one’s race. What if a person was born with physical features that enable him to choose whether to embrace the race defined by blood or the one defined by social construction? And are there any consequences of the choices made? This research studies the choice made by mulatto to pass as white and the consequences following the decision. The focus of the study is a poem written by Elizabeth Alexander entitled Race (2001). To answer the abovementioned questions, the poem is analyzed using a new historical approach. The approach enables the researcher to understand the historical background of and the author’s perspective on racial passing depicted in the poem and its relation to the reality of racial passing in American society. The results show that there are external and internal factors that make it possible for an individual to pass as a member of a different race from what he was. The external factors include the biological taxonomy that identifies him as belonging to a dominant race and the social construction that classifies people based on their physical features. The internal factor is the passer’s belief that by assuming a new racial identity, he will be able to lead a better life and be relieved from the oppression of the dominant race. Despite the privilege and opportunity that the new racial status can offer, racial passing can also bring some disadvantages such as the loss of the sense of belonging to the old racial identity, the feeling of insecurity, and the possibility of being disowned by one’s family.

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Kathleen Collins’s ‘Whatever Happened to Interracial Love?’

Books of The Times
The New York Times
2016-11-29

Dwight Garner

Kathleen Collins, Elizabeth Alexander (fore.), Whatever Happened to Interracial Love? (New York: Ecco, 2016)

When the filmmaker, playwright and fiction writer Kathleen Collins died of breast cancer in 1988, at 46, she left behind a wide body of work that’s only beginning to see the light of day.

She was among the first black women to direct a feature-length film. That movie, “Losing Ground” (1982), parsed black intellectual life in New York City; it was about a female philosophy professor and her wayward husband, a painter. It never had a theatrical release. Just last year its premiere was held at Lincoln Center, where it played to sold-out crowds.

She was a feverish artist, working on many fronts. In an essay in the September issue of Vogue, her daughter, Nina Lorez Collins, recalls, “When I think back, the dominant sounds of my childhood are of my mother’s IBM Selectric II clattering away behind her bedroom door; film swishing through the Steenbeck editing machine that sat in our dining room; and, occasionally, Tina Turner blaring from the stereo while she danced like a madwoman in the living room.”…

…This collection’s title story gives us Ms. Collins in full flower. It is about two roommates in an Upper West Side apartment. It’s 1963 or, as Ms. Collins declares, “the year of racial, religious, and ethnic mildew.”

One roommate is a white community organizer in Harlem, fresh out of Sarah Lawrence and dating a black poet. The other is a young black woman who was jailed during civil rights protests in Georgia; she’s in love with a white Freedom Rider.

When the young black woman went South, she shed some of her proper bourgeois upbringing and began to feel the shaggy earth beneath her feet. Her father is apoplectic. What’s happened to his perfect strait-laced daughter?…

Read the entire review here.

Whatever Happened to Interracial Love?

Ecco (an imprint of HarperCollins)
2016-12-06
192 pages
5.313 in (w) x 8 in (h) x 0.432 in (d)
Paperback ISBN: 9780062484154
E-book ISBN: 9780062484161

Kathleen Collins (1942-1988)

Foreword by: Elizabeth Alexander

Named one of Publishers Weekly’s Best Books of the Year, and named one of the most anticipated books of the fall by the Huffington Post, New York, The Boston Globe, Lit Hub, The Millions, and Nylon.com.

Now available in Ecco’s Art of the Story series: a never-before-published collection of stories from a brilliant yet little known African American artist and filmmaker—a contemporary of revered writers including Toni Cade Bambara, Laurie Colwin, Ann Beattie, Amy Hempel, and Grace Paley—whose prescient work has recently resurfaced to wide acclaim.

Humorous, poignant, perceptive, and full of grace, Kathleen Collins’s stories masterfully blend the quotidian and the profound in a personal, intimate way, exploring deep, far-reaching issues—race, gender, family, and sexuality—that shape the ordinary moments in our lives.

In “The Uncle,” a young girl who idolizes her handsome uncle and his beautiful wife makes a haunting discovery about their lives. In “Only Once,” a woman reminisces about her charming daredevil of a lover and his ultimate—and final—act of foolishness. Collins’s work seamlessly integrates the African-American experience in her characters’ lives, creating rich, devastatingly familiar, full-bodied men, women, and children who transcend the symbolic, penetrating both the reader’s head and heart.

Both contemporary and timeless, Whatever Happened to Interracial Love? is a major addition to the literary canon, and is sure to earn Kathleen Collins the widespread recognition she is long overdue.

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.

Race

Poem via Poetry Foundation from:

Antebellum Dream Book
Graywolf Press
2001
72 pages
Paperback ISBN: 1-55597-354-X

Elizabeth Alexander, President
The Andrew W. Mellon Foundation, New York, New York

Sometimes I think about Great-Uncle Paul who left Tuskegee,
Alabama to become a forester in Oregon and in so doing
became fundamentally white for the rest of his life, except
when he traveled without his white wife to visit his siblings—
now in New York, now in Harlem, USA—just as pale-skinned,
as straight-haired, as blue-eyed as Paul, and black. Paul never told anyone
he was white, he just didn’t say that he was black, and who could imagine,
an Oregon forester in 1930 as anything other than white?…

Read the entire poem here.