Mixed Race Studies

“These narratives of racial passing have risen from the dead”

Rutgers, The State University of New Jersey
May 2015
275 pages
DOI: 10.7282/T38G8NJG

Donavan L. Ramon

Ph.D. Dissertation

Instead of concurring with most critics that racial passing literature reached its apex during the Harlem Renaissance, this project highlights its persistence, as evidenced in the texts examined from 1900 to 2014. Using psychoanalysis, this dissertation recovers non-canonical and white-authored narratives that critics overlook, thus reconceptualizing the genre of passing literature to forge a new genealogy for this tradition. This new genealogy includes novels, life writings, and short stories. In arguing for the genre’s continued relevance and production, this project offers a rejoinder to critics who contend that racial passing literature is obsolete. Part one of this dissertation complicates the notion that characters pass only in response to witnessing a lynching or to improve their socioeconomic status, by asserting that racial passing begins in the classroom for male characters and at home for their female counterparts. It thus precedes the threat of violence or middle class aspirations. Whereas the first half of this project is preoccupied with the gendered beginnings of racial passing, the second half examines its effects, on both writing and death. This project explores racial passing in Charles Chesnutt’s The House Behind the Cedars (1900), James Weldon Johnson’s The Autobiography of an Ex-Colored Man (1912), Jessie Fauset’s Plum Bun (1929), Vera Caspary’s The White Girl (1929), Alice Dunbar-Nelson’s The Stones of the Village (1988), Danzy Senna’s Caucasia (1999), Philip Roth’s The Human Stain (2000), Bliss Broyard’s One Drop (2003) and Anita Reynolds’ American Cocktail (2014).

What is a White Man?

The Independent
Volume 41 (1889-05-30)
pages 5-6
Source: The Charles Chesnutt Digital Archive

Charles W. Chesnutt, Esq.

The fiat having gone forth from the wise men of the South that the “all-pervading, all-conquering Anglo-Saxon race” must continue forever to exercise exclusive control and direction of the government of this so-called Republic, it becomes important to every citizen who values his birthright to know who are included in this grandiloquent term. It is of course perfectly obvious that the writer or speaker who used this expression—perhaps Mr. Grady of Georgia—did not say what he meant. It is not probable that he meant to exclude from full citizenship the Celts and Teutons and Gauls and Slavs who make up so large a proportion of our population; he hardly meant to exclude the Jews, for even the most ardent fireeater would hardly venture to advocate the disfranchisement of the thrifty race whose mortgages cover so large a portion of Southern soil. What the eloquent gentleman really meant by this high-sounding phrase was simply the white race; and the substance of the argument of that school of Southern writers to which he belongs, is simply that for the good of the country the Negro should have no voice in directing the government or public policy of the Southern States or of the nation.

But it is evident that where the intermingling of the races has made such progress as it has in this country, the line which separates the races must in many instances have been practically obliterated. And there has arisen in the United States a very large class of the population who are certainly not Negroes in an ethnological sense, and whose children will be no nearer Negroes than themselves. In view, therefore, of the very positive ground taken by the white leaders of the South, where most of these people reside, it becomes in the highest degree important to them to know what race they belong to. It ought to be also a matter of serious concern to the Southern white people; for if their zeal for good government is so great that they contemplate the practical overthrow of the Constitution and laws of the United States to secure it, they ought at least to be sure that no man entitled to it by their own argument, is robbed of a right so precious as that of free citizenship; the “all-pervading, all conquering Anglo-Saxon” ought to set as high a value on American citizenship as the all-conquering Roman placed upon the franchise of his State two thousand years ago. This discussion would of course be of little interest to the genuine Negro, who is entirely outside of the charmed circle, and must content himself with the acquisition of wealth, the pursuit of learning and such other privileges as his “best friends” may find it consistent with the welfare of the nation to allow him; but to every other good citizen the inquiry ought to be a momentous one. What is a white man?…

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The Colonel’s Dream

West Virginia University Press
October 2014 (originally published in 1905)
352 pages
Paperback ISBN: 978-1-935978-91-6
Cloth ISBN: 978-1-940425-23-8
ePub ISBN: 978-1-935978-93-0
PDF ISBN: 978-1-935978-92-3

Charles W. Chesnutt

Edited by:

R. J. Ellis, Professor of American Studies
University of Birmingham, United Kingdom

Charles Waddell Chesnutt (1858-1932) was an African American writer, essayist, Civil Rights activist, legal-stenography businessman, and lawyer whose novels and short stories explore race, racism, and the problematic contours of African Americans’ social and cultural identities in post-Civil War South. He was the first African American to be published by a major American publishing house and served as a beacon-point for future African American writers.

The Colonel’s Dream, written in 1905, is a compelling tale of the post-Civil War South’s degeneration into a region awash with virulent racist practices against African Americans: segregation, lynchings, disenfranchisement, convict-labor exploitation, and endemic violent repression. The events in this novel are powerfully depicted from the point of view of a philanthropic but unreliable southern white colonel. Upon his return to the South, the colonel learns to abhor this southern world, as a tale of vicious racism unfolds. Throughout this narrative, Chesnutt confronts the deteriorating position of African Americans in an increasingly hostile South. Upon its publication The Colonel’s Dream was considered too controversial and unpalatable because of its bitter criticisms of southern white prejudice and northern indifference, and so this groundbreaking story failed to gain public attention and acclaim.

This is the first scholarly edition of The Colonel’s Dream. It includes an introduction and notes by R. J. Ellis and works to reestablish this great novel’s reputation.

Reading Rivalry, Race, and the Rise of a Southern Middle Class in Charles W. Chesnutt’s The Marrow of Tradition

Arizona Quarterly: A Journal of American Literature, Culture, and Theory
Volume 70, Number 3, Autumn 2014
pages 157-184
DOI: 10.1353/arq.2014.0018

Rachel A. Wise, Postdoctoral Fellow
Department of English
University of Texas, Austin

This essay argues that a sustained reading of the courtship plot and Lee Ellis’s role in Charles W. Chesnutt’s The Marrow of Tradition allows us to see the novel as ultimately envisioning a New South in which racial loyalty still trumps middle-class and professional solidarity. It reads the novel’s romantic triangle as a dramatization of the rise of a white middle class whose professional capital overtakes the central role of a plantation-based aristocracy. In the process, this new class remakes a whiteness that fails to significantly challenge either the essential hierarchy of white over black or the bloody lynch law that enforces that hierarchy. Because Ellis, who initially seems one of the least prejudiced whites in the novel, succumbs to race loyalty, his romantic triumph over Tom suggests the hopelessness of any chances for solidarity, highlighting The Marrow of Tradition’s critique of black middle-class enculturation as a viable form of racial uplift.

The De(con)struction of Black/White Binaries: Critiques of Passing in Charles Waddell Chesnutt’s “The Wife of His Youth” and Other Stories of the Color Line

Callaloo
Volume 37, Number 3, Summer 2014
pages 676-691
DOI: 10.1353/cal.2014.0106

Tanfer Emin Tunç, Professor of American Culture and Literature
Hacettepe University, Ankara, Turkey

When asked to elaborate on the “Negro Problem,” or the co-existence of racial inequality and democracy in the United States at the beginning of the twentieth century, African American historian W. E. B. Du Bois conveyed that the “’Negro problem’ of the twentieth century is the problem of the color line.” Kelly Miller, his contemporary and fellow National Association for the Advancement of Colored People activist, proposed a radical solution to this American dilemma: the “Negro must get along, get white, or get out” (qtd. in Brown 275). Thus the official word that African Americans received from the NAACP, arguably the most influential civil rights organization of the early-twentieth century, was that the color line, or the divide along racial lines (usually black and white), would dominate the lives of African Americans for the next hundred years. Moreover, only three solutions existed: “get along” (accommodate); “get white” (assimilate); or “get out” (leave the United States), which many individuals, including artists such as Josephine Baker, eventually did. Miller’s second solution to the Negro problem—”get white”—caused the greatest controversy within the black intellectual community for obvious reasons. Many activists, including Marcus Garvey and his supporters, believed that the future of African Americans lay not in their ability to disappear into the white race, but in their blackness—that is, their ability to resist “miscegenation” and the dominant racial hegemony of the United States.

The battle that emerged along the color line during the turn of the twentieth century was chronicled in American literature, specifically through the works of writer Charles Waddell Chesnutt who devoted his entire career to the “Negro problem” (See Wright and Glass). Born in Cleveland, Ohio, in 1858, but raised in Fayetteville, North Carolina, Euro-American in appearance but of African American heritage, Chesnutt straddled multiple worlds: North, South, black, and white. Early on in his life, he developed a double consciousness which shaped his career as a fiction writer, essayist, pedagogue, political commentator, lawyer, and legal stenographer at a time when African Americans could not even serve on juries or testify on their own behalf. This double consciousness also influenced his personal life, which he spent in the interstices of the black and white worlds (Ferguson, Introduction 2–3). Chesnutt maintained that because of the intractable racism of American society, the solution to the “Negro problem” lay not in one of Miller’s three solutions, but in the hands of middle class, educated, progressive “color line” blacks such as himself—individuals who transcended categorization by straddling the racial and cultural divide, especially between urban whites and rural blacks (Ferguson, Introduction 5; Ferguson, “Chesnutt’s Genuine Blacks” 113). Moreover, “Chesnutt’s recognition of, and emphasis on, these interstices, the in-between-ness of race, disturb[ed] turn-of-the-century race science; they exposed the color line as flexible and mutable, a barrier with real social consequences, but nevertheless a biological fiction” (Toth 77).

In essays such as “What Is a White Man?” and “The Future American,” Chesnutt describes race as “a modern invention of white people to perpetuate the color line.” He believed that racial fusion or “amalgamation” would eventually (when racist legal restrictions on interracial marriage were revoked) bring an end to race as a category of identity by creating a mestizo, all-inclusive, “future American ethnic type” who defied boundaries: “there would be no inferior race to domineer over; there would be no superior race to oppress those who differed from them in racial externals” (qtd. in McElrath, Leitz, and Crisler 125, 232). Because, as he argued, whiteness was a cultural fiction (“black and Indian blood” already flowed in the veins of many Southern whites), Chesnutt’s utopic vision of American race relations, and plan for the elimination of prejudice and “racial discord,” hinged not on peoples of color assimilating into the dominant white race, which he believed was already “impure,” but in the flexibility and adaptability of hybridity (McElrath, Leitz, and Crisler 125, 232; Fleischmann 466). For Chesnutt, the “future American” would be an “admixture” of races, ethnicities, and consciousnesses.

Although Chesnutt was proud of his black heritage, he understood why some individuals who lived along the color line perceived…

“Where a Man is a Man”?: Ancestral Possibilities in Charles Chesnutt’s Paul Marchand, F.M.C.

African American Review
Volume 46, Numbers 2-3, Summer/Fall 2013
pages 397-411
DOI: 10.1353/afa.2013.0048

Susan M. Marren, Associate Professor
University of Arkansas

This essay reads Charles Chesnutt’s Paul Marchand, F.M.C. not as a historical romance (as Chesnutt’s contemporaneous publishers deemed it) but rather as a peculiarly modernist passing novel. It argues that the novel’s hybrid possibilities stage a confrontation between an eighteenth-century standard of impartial “right reason” and the racially pluralistic world of nineteenth-century New Orleans.

Assimilation in Charles W. Chesnutt’s Works

University of New Orleans
2013-05-17
41 pages

Mary C. Harris

A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements for the degree of Master of Arts In English

Charles W. Chesnutt captures the essence of the Post Civil War period and gives examples of the assimilation process for African Americans into dominant white culture. In doing so, he shows the resistance of the dominant culture as well as the resilience of the African American culture. It is his belief that through literature he could encourage moral reform and eliminate racial discrimination. As an African American author who could pass for white, he is able to share his own experiences and todevelop black characters who are ambitious and intelligent. As a result, he leaves behind a legacy of great works that are both informative and entertaining.

Read the entire thesis here.

Chesnutt’s Genuine Blacks and Future Americans

MELUS: Multi-Ethnic Literature of the United States
Volume 15, Number 3, Discovery: Research and Interpretation (Autumn, 1988)
pages 109-119

SallyAnn H. Ferguson, Professor of English
University of North Carolina, Greensboro

Scholarship on novelist and short story writer Charles W. Chesnutt stagnates in recent years because his critics have failed to address substantively the controversial issues raised by his essays. Indeed, many scholars either minimize or ignore the fact that these writings complement his fiction and, more importantly, that they often reveal unflattering aspects of Chesnutt the social reformer and artist. In a much-quoted journal entry of 16 March 1880, Chesnutt himself explicitly links his literary art with social reform, saying he would write for a “high, holy purpose,” “not so much [for] the elevation of the colored people as the elevation of the whites/’ Using the most sophisticated artistic skills at his command, he ultimately hopes to expose the latter to a variety of positive and non-stereotypic images of the “colored people” and thereby mitigate white racism. As he remarks in a 29 May 1880 entry, “it is the province of literature to open the way for him [the colored person] to get it [equality]—to accustom the public mind to the idea; and while amusing them [whites], to lead people out, imperceptibly, unconsciously, step by step, to the desired state of feeling.” Throughout his entire literary career, Chesnutt never strays far from these basic reasons for writing, in fiction and nonfiction alike.

It is in his essays, however, that Chesnutt most clearly reveals the limited nature of his social and literary goals. Armed with such familiar journal passages as those cited above, scholars have incorrectly presumed that this writer seeks to use literature primarily as a means for alleviating white color prejudice against all black people in this country. But, while the critics romantically hail him as a black artist championing the cause of his people, Chesnutt, as his essays show, is essentially a social and literary accommodationist who pointedly and repeatedly confines his reformist impulses to the “colored people”—a term that he almost always applies either to color-line blacks or those of mixed races. This self-imposed limitation probably stems from the fact that he wrote during a time of intense color hatred in America,…

Witnessing Charles Chesnutt: The Contexts of “The Dumb Witness”

MELUS: Multi-Ethnic Literature of the United States
Volume 38, Issue 4 (December 2013)
pages 103-121
DOI: 10.1093/melus/mlt045

Benjamin S. Lawson
Florida State University

The silence and silencing of the character Viney in Charles Chesnutt’s short story, “The Dumb Witness” (c. 1897), artfully addresses the issue of exploitation related to race, gender, and slavery. Viney has no voice, no speaking, and no say-so; however, she employs this voicelessness for her own subversive ends. The story’s technique of embedded narratives problematizes issues of identity and consequent uses of power. Who is exploiting whom? Chesnutt’s narrator is a sympathetic white outsider who gains knowledge of the rural South by quizzing a slave, Uncle Julius. Yet Uncle Julius solidifies his own status by being a story-telling virtuoso who knows and narrates the tale of the mixed-race Viney and her cruel master. The suggestiveness of this theme expands beyond the story’s borders, for scholars have posited that Chesnutt himself was a black voice censored and exploited by his white publisher. Or was Chesnutt actually using his publisher to promote his own reputation? Decades later, African American studies appropriated Chesnutt as a primarily black rather than Southern writer. Mainstream and African American academic institutions and publishers promote him variously to express their own perspectives. We as readers continue to dictate the parameters of his realities—to manipulate his voice—as we use him for our own academic and political purposes. We forget that Chesnutt himself was immensely complex and conflicted as an Ohio-born and mostly-white man. Just as we witness Charles Chesnutt, he witnesses us: he interrogates our motives.

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Liminality in the works: The novels of Charles Chesnutt

University of Massachusetts, Amherst
September 1996
154 pages
Publication Number: AAT 9709591
ISBN: 9780591169812

Susan Jane Doyle

Submitted to the Graduate School of the University of Massachusetts, Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY

Charles Chesnutt is perhaps best known for his short stories; he also, over the course of his relatively short publishing career, produced three novels, which have been less well represented in the critical community. This neglect is due to some oversimplified readings in the past. My readings offer a revised view of Chesnutt’s work, which I have opened up by using the critical lens of liminality, and by drawing on Chesnutt’s own natural deconstructionist tendencies to do deconstructive readings of the novels.

I draw on Victor Turner’s definition of liminality, which comes from Turner’s rites of passage studies. I show that Chesnutt’s characters frequently attain liminal status in his work—they take on the “betwixt and between” characteristics that Turner defines as essential to the liminal state. But far from attaining the final assimilation that comes at the end of liminality, Chesnutt’s characters end up as marginals—Turner’s term for permanent outcasts. Thus, Chesnutt, in his typically ironic way, has described the status of black Americans at the turn of the 19th century in America.

Chesnutt’s novels are, when looked at as a continuum, a brooding meditation on the despair of black existence following Reconstruction. In the first novel. The House Behind the Cedars, Chesnutt shows the liminal quality of passing, an option which he chose not to exercise. In the second (and most successful) book, The Marrow of Tradition, he shows the liminal nature of the racial space occupied by a professional black man, who tries to be all things to all people, and who ends up utterly unable to express himself And in the third, and final, novel, The Colonel’s Dream, Chesnutt shows the failure of a white man who tried to go back to his hometown in the South and change the course of its future by combining what he perceives to be the best of the past with the best of the present. But in the frozen landscape of the post-Reconstructionist South, all dreams have become nightmares. Thus, because of his prophetic voice, Chesnutt deserves more appreciative readings in the present.

TABLE OF CONTENTS

• ACKNOWLEDGMENTS
• ABSTRACT
• 1. INTRODUCTION
• 2. CLOTHING THE EMPEROR: THE ABSENCE OF TEXT IN “BAXTER’S PROCRUSTES“
• 3. FINDING THE COST OF FREEDOM: THE LIMTNAL QUALITY OF PASSING IN THE HOUSE BEHIND THE CEDARS
• 4. LOST IN THE MIDDLE OF THINGS: THE RACIAL SPACES IN THE MARROW OF TRADITION
• 5. PAST THE RUBICON: THE MERE ABSTRACTIONS OF THE COLONEL’S DREAM
• 6. CONCLUSION
• BIBLIOGRAPHY

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