Mixed Race Studies

White Purity, Black Sexuality, and Their Roles in America’s History of Racism

Center for Brooklyn History
2020-12-18

In her new book, “White Fright: The Sexual Panic at the Heart of America’s Racist History,” historian Jane Dailey places white fear of Black sexuality and interracial sex at the center of America’s history of racism.

Dailey brings into sharp relief how white focus on safeguarding purity fueled centuries of brutality and structural racism. Historian Nell Painter looks at the nineteenth and twentieth century south through an intersecting lens. Her book “Southern History Across the Color Line” brings to the surface the many ways in which the lives of southern Blacks and whites were thoroughly entangled. Join these two thinkers as they reflect on the white American psyche, the messy tangles between races in the south, and the throughline that brings us from Emmett Till, to Loving v. Virginia, to the racism that continues today.

Getting In and Out

Harper’s Magazine
July 2017

Zadie Smith

Who owns black pain?

Discussed in this essay:

Get Out, directed by Jordan Peele. Blumhouse Productions, QC Entertainment, and Monkeypaw Productions, 2017. 104 minutes.

Open Casket, by Dana Schutz. 2017 Whitney Biennial, Whitney Museum of American Art, New York. March 17–June 11, 2017.

You are white—
yet a part of me, as I am a part of you.
That’s American.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older—and white—
and somewhat more free.
—Langston Hughes

Early on, as the opening credits roll, a woodland scene. We’re upstate, viewing the forest from a passing car. Trees upon trees, lovely, dark and deep. There are no people to be seen in this wood—but you get the feeling that somebody’s in there somewhere. Now we switch to a different world. Still photographs, taken in the shadow of public housing: the basketball court, the abandoned lot, the street corner. Here black folk hang out on sun-warmed concrete, laughing, crying, living, surviving. The shots of the woods and those of the city both have their natural audience, people for whom such images are familiar and benign. There are those who think of Fros­tian woods as the pastoral, as America the Beautiful, and others who see summer in the city as, likewise, beautiful and American. One of the marvelous tricks of Jordan Peele’s debut feature, Get Out, is to reverse these constituencies, revealing two separate planets of American fear—separate but not equal. One side can claim a long, distinguished cinematic history: Why should I fear the black man in the city? The second, though not entirely unknown (Deliverance, The Wicker Man), is certainly more obscure: Why should I fear the white man in the woods?…

…We have been warned not to get under one another’s skin, to keep our distance. But Jordan Peele’s horror-fantasy—in which we are inside one another’s skin and intimately involved in one another’s suffering—is neither a horror nor a fantasy. It is a fact of our experience. The real fantasy is that we can get out of one another’s way, make a clean cut between black and white, a final cathartic separation between us and them. For the many of us in loving, mixed families, this is the true impossibility. There are people online who seem astounded that Get Out was written and directed by a man with a white wife and a white mother, a man who may soon have—depending on how the unpredictable phenotype lottery goes—a white-appearing child. But this is the history of race in America. Families can become black, then white, then black again within a few generations. And even when Americans are not genetically mixed, they live in a mixed society at the national level if no other. There is no getting out of our intertwined history…

Read the entire review here.

SOCI 395-005: Plessy to Martin: Race and Politics

George Mason University
Fairfax, Virginia
Fall 2013

Rutledge M. Dennis, Professor of Sociology

This course examines the issues, individuals, and groups central to the intersectionality of race, culture, and politics in American life. We will begin with the landmark Plessy v. Ferguson case which solidified and legitimized the nation’s “separate and equal” racial policy until Brown v. Board of Education. A critique of this case allows us to understand the intricate relations between the nation’s racial theories and policies and its public politics and culture. These racial, political, and cultural issues will provide the background from which we analyze the individuals and groups whose actions and positions presented challenges and counter-challenges to America’s image of itself as a free and democratic society. As a consequence, we will examine how racial and cultural politics were driving forces in the public debates and controversies surrounding such cases as the Scottsboro Boys in Alabama, Robert Williams in North Carolina, Emmett Till in Mississippi, Medgar Evers in Mississippi, Martin Luther King in Georgia, Angela Davis in California, O. J. Simpson in California, Rodney King in California, and currently, Trayvon Martin in Florida. The central questions in the cases presented above focus on why, and in what ways, did racial feelings, fears, and animosities surface as they did, how were intragroup and intergroup relations affected by such attitudes and behavior, and what were the short and long-term societal consequences of these attitudes and behavior.

For more information, click here.