Mixed Race Studies

Blood-Lines That Waver South: Hybridity, the “South,” and American Bodies

Southern Quarterly
Volume 41, Number 1 (Fall 2003)
pages 39-52

Tace Hedrick, Associate Professor of English
University of Florida

In the paper I investigate a certain kind of imaginative response, especially on the part of mixed-race artists, to the prevalence of racialized discourses of modernity and nationalism in the Americas. Such discourses often dominated public thought in the Americas in general; more specifically for my purposes, I will be looking at the work of two artists, in Harlem and Mexico City, between the 1920s and the 1940s. In negotiating their own sense of a particularly mixed-race and thoroughly modern American nationalism, the United States mulatto writer Jean Toomer (1895-1967) and the Mexican mestiza painter Frida Kahlo (1907-1954) each would try to imagine an organic fusion-one which saw the fusion presumably inherent in race-mixing as a practice of hybridization and/ or grafting. Such a fusion was, further, imagined as a coming together of a (largely imaginary) time and space of primitive energies with the energies of modernity. As William Carlos Williams conceived it, to hybridize or to marry, as he put it in his 1925 In the American Grain, would be the only “moral” way to “fertilize . . . to create, to hybridize, to crosspollenize” (121). For artists and intellectuals in the United States who saw that the 1920s presented a crossroads in how the US would define itself as “American,” people like Williams, the writer Waldo Frank, and even many intellectuals of color such as Toomer felt indeed that cultural, if not also racial, fusion might be the “crosspollenizing” way out of the seeming sterility of an ever-deepening divide along the color line. For Mexican artists and intellectuals at a time of intense nation building, given that race and cultural mixing in Mexico were already an unavoidable fact, the idea of hybridity, that is mestizaje (Indo-Hispanic mixing), of necessity became the watchword for a new and unified Mexican nation. At a time when eugenics science generally characterized race-mixing as productive only of degenerate or sterile offspring, Kahlo and Toomer, and others like them, would effect this imaginative unification, fusion, and cross-pollenization by means of a eugenic counter-discourse which privileged race (and cultural) mixing as productive of hybrid, and therefore stronger, cultures and, ultimately, nations. If we remember the fascination that genetic, eugenic, and evolutionary theories held for both North and South Americans in the earlier part of the twentieth century, it begins to make sense that such an idea of cultural and racial hybridity ultimately would give rise to a very general notion that North must fuse in some way with South, given the tendency to divide the United States and Mexico into “North” and “South,” a division which often imaginatively paralleled the industrial/agricultural divide assigned to these same regions in the United States itself. For Toomer in the United States, this fusion would involve a literally organic connection between the urban North and the agrarian South. For Kahlo and her husband, the artist and muralist Diego Rivera, the fusion would often be envisioned in terms of an agrarian Mexico (South) with an industrial United States (North)…

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Mestizo Modernism

Rutgers University Press
2003
280 pages
21 b&w illus.
Paper ISBN 0-8135-3217-5
Cloth ISBN 0-8135-3216-7

Tace Hedrick, Associate Professor and Women’s Studies
University of Florida, Gainesville

We use the term “modernism” almost exclusively to characterize the work of European and American writers and artists who struggled to portray a new kind of fractured urban life typified by mechanization and speed. Between the 1880s and 1930s, Latin American artists were similarly engaged-but with a difference. While other modernists drew from “primitive” cultures for an alternative sense of creativity, Latin American modernists were taking a cue from local sources-primarily indigenous and black populations in their own countries. In Mestizo Modernism Tace Hedrick focuses on four key artists who represent Latin American modernism-Peruvian poet César Vallejo, Chilean poet Gabriela Mistral, Mexican muralist Diego Rivera, and Mexican artist Frida Kahlo. Hedrick interrogates what being “modern” and “American” meant for them and illuminates the cultural contexts within which they worked, as well as the formal methods they shared, including the connection they drew between ancient cultures and modern technologies. This look at Latin American artists will force the reconceptualization of what modernism has meant in academic study and what it might mean for future research.

Table of Contents

MESTIZO MODERNISM
SENTIMENTAL MEN
WOMEN’S WORK
BROTHER MEN
CHILDLESS MOTHERS
HYBRID MODERN
Acknowledgments
Notes
Works Cited
Index

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