Mixed Race Studies

Unnatural Selections: Eugenics in American Modernism and the Harlem Renaissance

University of North Carolina Press
April 2004
288 pages
6.125 x 9.25, 19 illus., 2 charts, notes, bibl., index
Cloth ISBN: 978-0-8078-2868-7
Paper ISBN: 978-0-8078-5531-7

Daylanne K. English, Associate Professor of English & Chair
Macalester College

Challenging conventional constructions of the Harlem Renaissance and American modernism, Daylanne English links writers from both movements to debates about eugenics in the Progressive Era. She argues that, in the 1920s, the form and content of writings by figures as disparate as W. E. B. Du Bois, T. S. Eliot, Gertrude Stein, and Nella Larsen were shaped by anxieties regarding immigration, migration, and intraracial breeding.

English’s interdisciplinary approach brings together the work of those canonical writers with relatively neglected literary, social scientific, and visual texts. She examines antilynching plays by Angelina Weld Grimké as well as the provocative writings of white female eugenics field workers. English also analyzes the Crisis magazine as a family album filtering uplift through eugenics by means of photographic documentation of an ever-improving black race.

English suggests that current scholarship often misreads early-twentieth-century visual, literary, and political culture by applying contemporary social and moral standards to the past. Du Bois, she argues, was actually more of a eugenicist than Eliot. Through such reconfiguration of the modern period, English creates an allegory for the American present: because eugenics was, in its time, widely accepted as a reasonable, progressive ideology, we need to consider the long-term implications of contemporary genetic engineering, fertility enhancement and control, and legislation promoting or discouraging family growth.

Self-made women in a (racist) man’s world: The ‘tragic’ lives of Nella Larsen and Bessie Head

English Academy Review
Volume 25, Issue 1 (May 2008)
pages 66-76
DOI: 10.1080/10131750802099490

Diana Mafe, Assistant Professor of English
Denison University, Granville, Ohio

(Her research aims to situate mixed race studies in a relatively unexplored sub-Saharan African context.)

Nella Larsen, the ‘mystery woman of the Harlem Renaissance,’ and Bessie Head, the famous ‘woman alone,’ are known for their ambiguous origins and their fabrication of personal ‘facts.’This article argues that these mixed race female writers, born under Jim Crow and apartheid respectively, carved out niches in these segregationist societies through the art of self-invention. Because of their precarious positions as ‘mulattas’ in anti-miscegenation worlds, clear parallels are identifiable between Larsen and Head, such as the creation of multiple selves and the realisation of the ‘tragic mulatto‘ stereotype through such characters as Helga Crane in Larsen’s Quicksand (1928) and Elizabeth in Head’s A Question of Power (1973). The representation of the ‘mulatto’ as a tragic figure caught between races is primarily an American literary trope, but both Larsen and the African-born Head evoke this stereotype in their personal and written stories. These two writers also resist labelling, however, by inventing new identities through pseudonyms, autobiographical heroines, and imagined ‘truths.’ This article examines the overt parallels between two mixed race women writers from different generations and continents, initiating crucial dialogue about the development of racial stigmas across cultures and temporalities.

Read or purchase the article here.

Race and Mixed Race

Temple University Press
October 1993
232 pages
6×9
paper: EAN: 978-1-56639-265-5, ISBN: 1-56639-265-9
    
Naomi Zack, Professor of Philosophy
University of Oregon

In the first philosophical challenge to accepted racial classifications in the United States, Naomi Zack uses philosophical methods to criticize their logic. Tracing social and historical problems related to racial identity, she discusses why race is a matter of such importance in America and examines the treatment of mixed race in law, society, and literature.

Zack argues that black and white designations are themselves racist because the concept of race does not have an adequate scientific foundation.  The “one drop” rule, originally a rationalization for slavery, persists today even though there have never been “pure” races and most American blacks have “white” genes.

Exploring the existential problems of mixed race identity, she points out how the bi-racial system in this country generates a special racial alienation for many Americans. Ironically suggesting that we include “gray” in our racial vocabulary, Zack concludes that any racial identity is an expression of bad faith.

Table of Contents

Part I: The Existential Analysis
1. Introduction: Summary, Method, and Structure
2. The Ordinary Concept of Race
3. White Family Identity
4. Black Family Identity
5. Demography and the Identification of the Family
6. Mixed-Race Family Identity

Part II: The History of Mixed Race
7. Introduction to the History of Mixed Race
8. The Law on Black and White
9. Marooned!
10. The Harlem Renaissance: Cultural Suicide
11. Genocidal Images of Mixed Race
12. Mulattoes in Fiction
13. Alienation

Part III: The Philosophy of Anti-Race
14. Nobility versus Good Faith
15. Black, White, and Gray: Words, Words, Words

Notes
Select Bibliography
Index

Portraits of the New Negro Woman: Visual and Literary Culture in the Harlem Renaissance

Rutgers University Press
2006
224 pages
b&w illustrations
Paper ISBN: 978-0-8135-3977-5
Cloth ISBN: 978-0-8135-3976-8

Cherene Sherrard-Johnson, Professor of English
University of Wisconsin-Madison

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.

Portraits of the New Negro Woman investigates the visual and literary images of black femininity that occurred between the two world wars. Cherene Sherrard-Johnson traces the origins and popularization of these new representations in the art and literature of the Harlem Renaissance and how they became an ambiguous symbol of racial uplift constraining African American womanhood in the early twentieth century.

In this engaging narrative, the author uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.

The Mulatta and the Politics of Race

University Press of Mississippi
2004
272 pages
bibliography, index
ISBN: 157806676X (9781578066766)

Teresa C. Zackodnik, Professor of English
University of Alberta, Canada

An analysis of how black women used the mulatta figure to contest racial barriers.

From abolition through the years just before the civil rights struggle began, African American women recognized that a mixed-race woman made for a powerful and, at times, very useful figure in the battle for racial justice.

The Mulatta and the Politics of Race traces many key instances in which black women have wielded the image of a racially mixed woman to assault the color line.  In the oratory and fiction of black women from the late 1840s through the 1950s, Teresa C. Zackodnik finds the mulatta to be a metaphor of increasing potency.

Before the Civil War white female abolitionists created the image of the “tragic mulatta,” caught between races, rejected by all. African American women put the mulatta to diverse political use.  Black women used the mulatta figure to invoke and manage American and British abolitionist empathy and to contest racial stereotypes of womanhood in the postbellum United States.  The mulatta aided writers in critiquing the “New Negro Renaissance” and gave writers leverage to subvert the aims of mid-twentieth-century mainstream American culture.

The Mulatta and the Politics of Race focuses on the antislavery lectures and appearances of Ellen Craft and Sarah Parker Remond, the domestic fiction of Pauline Hopkins and Frances Harper, the Harlem Renaissance novels of Jessie Fauset and Nella Larsen, and the little-known 1950s texts of Dorothy Lee Dickens and Reba Lee.  Throughout, the author discovers the especially valuable and as yet unexplored contributions of these black women and their uses of the mulatta in prose and speech.

Portraits of the New Negro Woman: Visual and Literary Culture in the Harlem Renaissance (review)

Legacy
Volume 26, Number 1 (2009)
pages 182-184
E-ISSN: 1534-0643
Print ISSN: 0748-4321
DOI: 10.1353/leg.0.0069

Martha Jane Nadell, Associate Professor
Brooklyn College of the City University of New York

Cherene Sherrard-Johnson opens her provocative and intriguing book, Portraits of the New Negro Woman, with a reading of a painting by Harlem Renaissance artist Archibald Motley. One of Motley’s many portraits of mixed-race women in a 1928 solo exhibition, A Mulatress, drew a great deal of attention, even appearing on the front cover of the exhibition catalogue and in reviews of the show. Critics used a language of racial classification, rather than of painterly inquiry, to discuss Motley’s work; they described it and other works in terms of race and primitivism, rather than as meditations on line, color, or composition. Sherrard-Johnson uses the portrait and reactions to it to set up the central concern for her book: the aesthetically and culturally complex representations of the mulatta in the visual and literary work of the Harlem Renaissance. Images of mixed-race women—in novels, films, paintings, and illustrations—engage with racially inflected discourse, evident in interpretations of Motley’s portraits: Mulattas in Sherrard-Johnson’s visual and textual sources are simultaneously proper and primitive, domestic and desirable, civilized and sexual.  As such, they are most significantly also a central part of the Harlem Renaissance’s wrestling with race.