Mixed Race Studies

Poet’s Muse: A Footnote to Beethoven

The New York Times
2009-04-02

Felicia R. Lee

Haydn almost certainly encountered him as a child in a Hungarian castle, where the boy’s father was a servant and Haydn was the director of music, and Thomas Jefferson saw him performing in Paris in 1789: a 9-year-old biracial violin prodigy with a cascade of dark curls. While the boy would go on to inspire Beethoven and help shape the development of classical music, he ended up relegated to a footnote in Beethoven’s life.

Rita Dove, the Pulitzer Prize-winning former United States poet laureate, has now breathed life into the story of that virtuoso, George Augustus Polgreen Bridgetower, in her new book, “Sonata Mulattica” (W. W. Norton). The narrative, a collection of poems subtitled “A Life in Five Movements and a Short Play,” intertwines fact and fiction to flesh out Bridgetower, the son of a Polish-German mother and an Afro-Caribbean father.

When he died in South London in 1860, his death certificate simply noted that he was a “gentleman.” Ms. Dove imagines, as she writes in her poem “The Bridgetower,” that “this bright-skinned papa’s boy/could have sailed his fifteen-minute fame/straight into the record books.”…

Read the entire review here.

A Look at Looking Different

The New York Times
2014-12-02

Felicia R. Lee

‘Crossing Borders,’ at the Brooklyn Historical Society

Alexander David grew up with a Chinese mother and a white Jewish father in the liberal Park Slope neighborhood of Brooklyn. He attended the predominantly Asian elite Stuyvesant High School. He was comfortable in his skin in both places, but in a world of tribes, the Asian kids considered him white, and the white ones considered him Asian.

“We’re not like a racially blind kind of society,” Mr. David said in an interview recently.

Mr. David’s experience is now part of an unusual project by the Brooklyn Historical Society called “Crossing Borders, Bridging Generations,” which has as its centerpiece a collection of more than 100 oral histories of people who identify themselves as being of mixed heritage, whether through race, ethnicity, religion or nationality.

Three years in the making, “Crossing Bridges” will be completed in mid-January and is uncommon in subject and scope for a historical society, said Annie Valk, vice president of the Oral History Association. It comes with public programs, a school curriculum and an interactive website…

…About 30 of the oral histories are now gathered on the website, which includes photographs, audio clips, transcripts and scholarly articles. The full oral history collection will be available next year at the historical society’s Othmer Library, the repository of more than 1,200 oral history narratives on a variety of topics. In February, educators will also be offered a curriculum for grades six through 12.

All the oral history subjects were volunteers who live or work in Brooklyn, or did so in the past. They were a diverse flock, including biracial lesbian couples and Jewish couples from different European countries. Their stories reflect changes from the time when mixed marriage often meant spouses of different religions to a time when it means gay or interracial marriage, or both, said Sady Sullivan, the former director of oral history at the historical society. Ms. Sullivan, who conceived the project, has been named the curator of oral history at Columbia’s Rare Book and Manuscript Library.

“The idea I get really excited about is that this is for the future,” Ms. Sullivan said. “What will it be like to listen to stories about the social construction of race in 150 years?”…

…Championing multiracial families — including the struggle for the right to check more than one census box for race — has also had detractors. Some argue that multiracial identity only increases racial stratification. Others have argued that discussions about multiracial identity too often fail to examine how race is related to wealth and power.

Nitasha Tamar Sharma, an associate professor of African-American studies and Asian-American studies at Northwestern, wondered how the oral histories would be framed. “Is it going to be used only as a celebration?” asked Professor Sharma, who writes about and researches issues of racial identity…

Read the entire article here.

In a Novelist’s World, You Choose Your Race

The New York Times
2014-08-11

Felicia R. Lee

In the weak light of a February afternoon, Kelly Thorndike has a strange chance encounter in a Baltimore parking lot with Martin Lipkin, an old friend from high school. But time has brought a big change. The Martin that Kelly knew was white. The man standing before him is black.

Their meeting sets the stage for “Your Face in Mine,” Jess Row’s debut novel, which is to be published on Thursday by Riverhead Books, joining a long tradition of fiction about racial guises. Mr. Row’s tale is set in a near future in which Martin is the first person to undergo “racial reassignment surgery” to change his features, skin color, hair texture and even his voice. His surgical package includes a new biography and even a dialect coach — all a corrective for Martin’s “racial dysphoria.”

“I wanted to make the novel the logical outcome of the way certain vectors in our society are going,” Mr. Row, 39, a soft-spoken, self-described WASP, said during a recent interview. He pointed to the current state of plastic surgery, in which it’s possible for features and body parts to be changed to mask or remake ethnicity. “I wanted people to ask, ‘If I could have the surgery, would I?’ ” said Mr. Row, the author of two story collections, “The Train to Lo Wu” and “Nobody Ever Gets Lost.”

A fan of James Baldwin’s work, Mr. Row said he set out to have “Your Face in Mine” explore the ways people try to escape their racial identities, as well as investigate their desire for racial reconciliation and deeply unconscious fears and discomforts around race.

“Passing” has been a major theme in African-American literature for over a century, and has usually meant blacks living as whites to escape bias. “Your Face in Mine” owes something to classic stories of passing like “The Autobiography of an Ex-Colored Man,” by James Weldon Johnson (published anonymously in 1912 and under his name in 1927), and the 1931 satire “Black No More,” by George S. Schuyler, in which blacks rush to embrace a new scientific process to become white.

It also calls to mind “Black Like Me,” the groundbreaking 1961 account by John Howard Griffin, a white journalist, who darkened his skin to appear African-American and wrote about the discrimination he experienced…

…“Is Race Plastic?,” a recent New York magazine cover article, considered just this issue, exploring the implications of “ethnic plastic surgery” with its menu of procedures that go about “sharpening the stereotypically flat noses of Asians, blacks and Latinos, while flattening the stereotypically sharp noses of Arabs and Jews.”

Allyson Hobbs, an assistant professor of history at Stanford, whose book, “A Chosen Exile: A History of Racial Passing in American Life,” comes out in October, said that in life and in literature, passing showed the complexity, and even absurdity, of racial categories.

“Historically, it was much clearer what was to be gained by being white, in the literature as well,” she said. “There was a social and economic logic to becoming white.” About “Your Face in Mine,” she said: “What this book sort of raises as a question is what someone expects to gain by being black, Hispanic or Asian in the 21st century? What is gained and what is lost through a racial reassignment in the 21st century?”…

Read the entire article here.

“Biological race trumps cultural race. Race is something we’re really invested in validating or comprehending. It’s about how we understand race as a marker of difference, something that a story about ancestry can’t resolve.” —Jenifer L. Bratter, Rice University

Felicia R. Lee, “After the ‘White Lie’ Implodes, a Rich Narrative Unfurls,” The New York Times, August 1, 2014. http://www.nytimes.com/2014/08/02/movies/little-white-lie-lacey-schwartzs-film-about-self-discovery.html.

After the ‘White Lie’ Implodes, a Rich Narrative Unfurls

The New York Times
2014-08-01

Felicia R. Lee

‘Little White Lie,’ Lacey Schwartz’s Film About Self-Discovery

Lacey Schwartz, a 37-year-old Harvard Law School graduate turned filmmaker, moves with ease in circles in which her identity as both black and Jewish seems unremarkable. What makes her biography striking is that Ms. Schwartz, a woman with light brown skin and a cascade of dark curls, grew up believing she was white.

How and why that happened is the subject of her film, “Little White Lie,” which has its premiere on Sunday at the San Francisco Jewish Film Festival, its first stop on the festival circuit before being broadcast on PBS next year. With Ms. Schwartz narrating, the camera travels to a funeral, girlfriend gab sessions and even her therapy appointments. At each stop, in raw conversations with family and friends, Ms. Schwartz asks over and over, how and why did she pass as white?

“I come from a long line of New York Jews,” she says early in the film, as photographs of her white relatives flash across the screen. “My family knew who they were, and they defined who I was.”

Ms. Schwartz was an only child who grew up in the mostly white town of Woodstock, N.Y. Her parents, Peggy and Robert Schwartz, told her that she favored her father’s swarthy Sicilian grandfather. It was not until she went off to college that she learned the truth.

Before starting college, “I was already questioning my whiteness because of what other people said and because I was aware that I looked different from my family,” she said in a recent interview. Then, based on the photograph accompanying her application, Georgetown University passed her name along to the black student association, which contacted her.

The university “gave me permission” to explore a black identity, Ms. Schwartz said…

…Bliss Broyard explored similar territory in a memoir about her father, the book critic Anatole Broyard, a black man who passed as white. She has said she was raised white but learned the truth about her father on his deathbed. But Ms. Broyard, unlike Ms. Schwartz, grew up with her biological father.

Jenifer L. Bratter, director of the Program for the Study of Ethnicity, Race and Culture at Rice University, said the film’s twisting tale was part of “a larger story about race in America.”

“Biological race trumps cultural race,” she added. “Race is something we’re really invested in validating or comprehending. It’s about how we understand race as a marker of difference, something that a story about ancestry can’t resolve.”..

Read the entire review here.

Black History’s Missing Chapters: ‘The African Americans: Many Rivers to Cross,’ on PBS

The New York Times
2013-10-18
 
Felicia R. Lee

The television mini-series “Roots,” about the slave Kunta Kinte and his descendants, is a classic, inspired by real lives and real history. But it is a truism among historians that young people do not know enough about African-American contributions to history. Even a tiny slice of recent history — the civil rights movement — is not required teaching in most states, the Southern Poverty Law Center found in a recent assessment.

“It boils down to Rosa Parks, Martin Luther King and ‘I Have a Dream,’ ” Maureen Costello, director of the center’s Teaching Tolerance Project, said of the typical level of knowledge. Films and the occasional series on black history have helped fill in the gaps, creating a kind of “cultural accretion,” Ms. Costello added, but television in recent years has not consistently offered informative entertainment.

When “Roots” was broadcast in 1977, “the whole nation watched it because there were three networks vying for our attention,” Ms. Costello said. “As a culture, we’ve become so fragmented. I think more Americans can reasonably discuss the meth trade or the Mafia because of ‘Breaking Bad’ and ‘The Sopranos’ than they can African-American history.”

Into the breach has stepped Henry Louis Gates Jr., assisted by dozens of historians. His six-part series, “The African Americans: Many Rivers to Cross,” beginning on Tuesday on PBS, aims to chronicle 500 years of black history. The program starts with Juan Garrido, a free black man whose 1513 expedition with Spanish explorers in Florida made him the first known African to arrive in what is now the United States, and ends with Barack Obama in the White House in 2013, a time of complexity and contradictions for black Americans. In between, Professor Gates, director of the W. E. B. Du Bois Institute for African and African American Research at Harvard, draws on the latest scholarship to put flesh on characters like the resilient South Carolina slave girl Priscilla as well as her descendants…

Read the entire article here.

Family Tree’s Startling Roots

The New York Times
2012-03-19

Felicia Lee

Thirty-nine lashes “well laid” on her bare back and an extension of her indentured servitude was Elizabeth Banks’s punishment for “fornication & Bastardy with a negroe slave,” according to a stark June 20, 1683, court document from York County, Va. Through the alchemy of celebrity and genealogy, that record and others led to the recent discovery that Banks, a free white woman despite her servitude, was the paternal ninth great-grandmother of Wanda Sykes, the ribald comedian and actress.

More than an intriguing boldface-name connection, it is a rare find even in a genealogy-crazed era in which Internet sites like ancestry.com, with more than 14 million users, and the popular NBC program “Who Do You Think You Are?” play on that fascination. Because slavery meant that their black ancestors were considered property and not people, most African-Americans are able to trace their roots in this country only back to the first quarter of the 19th century.

“This is an extraordinary case and the only such case that I know of in which it is possible to trace a black family rooted in freedom from the late 17th century to the present,” said the historian Ira Berlin, a professor at the University of Maryland known for his work on slavery and African-American history.

Mary Banks, the biracial child born to Elizabeth Banks around 1683, inherited her mother’s free status, although she too was indentured. Mary appeared to have four children. There are many other unanswered questions, but the family grew, often as free people of color married or paired off with other free people of color.

Ms. Sykes’s family history was professionally researched for a segment of “Finding Your Roots With Henry Louis Gates Jr.,” a new series that has its debut Sunday on PBS.

“The bottom line is that Wanda Sykes has the longest continuously documented family tree of any African-American we have ever researched, ” said Mr. Gates, the director of the W. E. B. Du Bois Institute for African and African American Research at Harvard. He was referring to the dozens of genealogies his researchers have unearthed for his television roots franchise, which began in 2006 with the PBS series “African-American Lives” and includes three other genealogy-inspired shows. Mr. Gates said he also checked Ms. Sykes’s family tree with historians, including Mr. Berlin…

…Johni Cerny, who is the chief genealogist for Mr. Gates’s television programs, noted that many African-Americans with white ancestry could trace their heritage beyond the 1600s to European ancestors. She said 85 percent of African-Americans have some European ancestry.

“The unique thing about Wanda is that she descends from 10 generations of free Virginia mulattos, which is more rare than descendants of mixed-race African-Americans who descend from English royalty,” Ms. Cerny wrote in an e-mail message.

More than 1,000 mixed-race children were born to white women in colonial Virginia and Maryland, but their existence has been erased from oral and written history, said Paul Heinegg, a respected lay genealogist and historian. Mr. Heinegg’s Web site, freeafricanamericans.com, features books and documents like tax lists that provide information about those families…

Read the entire article here.

Pushing Boundaries, Mixed-Race Artists Gain Notice

The New York Times
2011-07-05

Felicia R. Lee

Heidi Durrow, left, and Fanshen Cox, the co-producers of the Mixed Roots Film and Literary Festival. (Ann Johansson for The New York Times)

Note from Steven F. Riley: Please make sure to view the many reader comments for the article here.

Race Remixed: Articles in this series explore the growing number of mixed-race Americans.

For years Heidi W. Durrow heard the refrain: editors wouldn’t publish her novel because readers couldn’t relate to a protagonist who was part black and part Danish. But when that novel, “The Girl Who Fell From the Sky,” was finally published last year (after about four dozen rejections, said Ms. Durrow, who is, of course, black and Danish), the coming-of-age story landed on best-seller lists.

Today Ms. Durrow finds herself in the elite precincts of The New Yorker and National Public Radio — which a few weeks ago began the Summer Blend Book Club, featuring works about multiracial people…

…“The national images of racially mixed people have dramatically changed just within the last few years, from ‘mulattoes’ as psychically divided, racially impure outcasts to being hip new millennials who attractively embody the resolution of America’s race problem,” said Michele Elam, an associate professor of English at Stanford University.

Both images, she said, are wrongheaded and reductive.

Much of the work by mixed-race artists, though certainly not all of it, reveals the fault lines and pressure points that still exist in a rapidly changing America. It is on these rough edges that many multiracial people live, and where many artists find the themes that animate their work: the limits of tolerance, hidden or unacknowledged assumptions about identity, and issues of racial privilege and marginalization.

“These images and narratives are not just entertaining,” said Ms. Elam, who is also the author of “The Souls of Mixed Folk: Race, Politics and Aesthetics in the New Millennium.” “They can influence, both consciously and unconsciously, how we think about race today in our nation.”…

…To support and showcase artists telling their stories of the mixed experience, Ms. Durrow and Fanshen Cox, a biracial actor and Ms. Durrow’s best friend, created the Mixed Roots Film and Literary Festival in Los Angeles in 2008…

Read the entire aritcle here.  View the reader comments here.

Scholars Say Chronicler of Black Life Passed for White

New York Times
2010-12-26

Felicia R. Lee

Renown came to Jean Toomer with his 1923 book “Cane,” which mingled fiction, drama and poetry in a formally audacious effort to portray the complexity of black lives. But the racially mixed Toomer’s confounding efforts to defy being stuck in conventional racial categories and his disaffiliation with black culture made him perhaps the most enigmatic writer associated with the Harlem Renaissance.

Now Henry Louis Gates Jr., the Harvard scholar, and Rudolph P. Byrd, a professor at Emory University, say their research for a new edition of “Cane” documents that Toomer was “a Negro who decided to pass for white.”…

…Toomer’s racial complexity has long been intriguing to critics and scholars, but Mr. Gates and Mr. Byrd’s assertion about his identity is certain to spark debate. Richard Eldridge, a Toomer biographer, said recently that he had not read the new edition — and will stand corrected if its case is persuasive — but that Toomer never “passed” in the classic sense of pretending to be white. Rather, he said, Toomer (whose appearance was racially indeterminate) sought to transcend standard definitions of race.

“I think he never claimed that he was a white man,” Mr. Eldridge said. “He always claimed that he was a representative of a new, emergent race that was a combination of various races. He averred this virtually throughout his life.” Mr. Eldridge and Cynthia Earl Kerman are the authors of “The Lives of Jean Toomer: A Hunger for Wholeness” published in 1987 by Louisiana State University Press…

…Yet this new edition of “Cane” documents that over the course of his life Toomer variously denied ever living as a black person; called himself racially mixed; and said he was a new kind of American, transcending old racial terms. Toomer did not want to be featured as a Negro in the marketing of “Cane” and later did not want his work included in black anthologies…

Read the entire article here.