Scholarly perspectives on the mixed race experience.
One of the more tragic aspects of the racial worldview has been the seeming dilemma of people whose parents are identifiably of different “races.” Historically, “race” was grounded in the myth of biologically separate, exclusive, and distinct populations. No social ingredient in our race ideology allowed for an identity of “mixed-races.” Indeed over the past century and a half, the American public was conditioned to the belief that “mixed-race” people (especially of black and white ancestry) were abnormal products of the unnatural mating of two species, besides being socially unacceptable in the normal scheme of things. The tragedy for “mixed” people is that powerful social lie, the assumption at the heart of “race,” that a presumed biological essence is the basis of one’s true identity. Identity is biology, racial ideology tells us, and it is permanent and immutable. The emphasis on and significance given to “race” precludes any possibility for establishing our premier identities on the basis of other characteristics. In this sense it may be argued that the myth of ”race” has been a barrier to true human identities.
In Fanny Hurst’s novel, Delilah’s daughter dreams of working in white restaurants, achieves her dream of passing and marries a white man before escaping America and her identity. In the 1934 movie as well as Sirk’s version Delilah/Annie’s daughter doesn’t get away so cleanly.
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When Douglas Sirk left Hollywood he was at the zenith of his career, twenty years after he’d arrived there as a refugee from Nazi Germany, unsure if he’d ever make another movie. He had just made his most successful picture, based on what was probably the most controversial topic in America at the time. Maybe he understood that it’s always best to leave when you’re at the top, or maybe he was just tired.
Based on a novel by Fanny Hurst, the original film directed by John M. Stahl had Colbert’s Bea create a culinary empire based on a pancake recipe passed down through the family of Delilah (Beavers), her African-American maid. Both women prosper, but Bea’s happiness is threatened when her daughter falls in love with the man she wants to marry. James M. Cain’s 1941 novel Mildred Pierce – later made into a movie with Joan Crawford and a miniseries starring Kate Winslet – is basically a hardboiled rewrite of Hurst’s story, excising the crucial secondary plot involving Delilah and her daughter, a young woman striving to pass for white…