Mixed Race Studies

“Home is Nowehere”: Negotiating Identities in Colonized Worlds

University of Georgia
2007
57 pages

Julia A. Tigner

A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS

The Bildungsroman, a term that derived from German literary criticism, is a genre of literature that highlights popular conceptions of manhood and depicts the growth of the male protagonist. Many female authors use the Bildungsroman as a form of cultural expression not only to transform patriarchal views, but also to redefine femininity, articulate cultural conflict, and describe what it means to be a woman in a colonized culture. I will revisit this topic in Michelle Cliff’s Abeng (1984) and Chimamanda Ngozi Adichie’s Purple Hibiscus (2003), and examine family dynamics in order to show how each female protagonist negotiates the complexities of a hybrid identity and attempts to harmonize two opposite cultures.

TABLE OF CONTENTS

• CHAPTERS
  • 1. INTRODUCTION
  • 2. “BETWEEN AFRICANNESS AND EUROPEANNESS: FORGING IDENTITIES IN MICHELLE CLIFF’S ABENG”
  • 3. “TRADITION OR MODERNITY IN CHIMAMANDA NGOZI ADICHIE’S PURPLE HIBISCUS”
  • 4. CONCLUSION
• BIBLIOGRAPHY

Read the entire thesis here.

The Complexities of Identity: Teaching Michelle Cliff’s Abeng to High School Students

Minnesota English Journal
Volume 45 – Fall 2009
pages 19-33

Angie Iserman, English Teacher
Owatonna High School, Owatonna, Minnesota

When I decided to return to the role of student in order to obtain my graduate degree, my hope was I could bury myself within two genres of literature: adolescent and multicultural. Now, a year later, I have read several books in both genres and consistently find myself grappling with a single theme: identity. This may be due to the fact that both adolescent literature and multicultural literature readily lend themselves to the investigation of this theme, but I believe my fascination with it also stems from my experience as a high school English teacher. So far, much of my teaching career has been spent in classrooms filled with seventh, eighth, and ninth graders, and I have witnessed the struggle of these students to define themselves on a daily basis. Sometimes, it even seems like these students change their identities by the hour.

While changes in identity manifest themselves in students of all cultures, such changes are most easily observed in students who want to belong to two cultural groups at once. In particular, I am reminded of a Muslim student at the school where I teach who comes to school dances in traditional Muslim garb and who subsequently changes into pants as soon as possible after arriving in order to integrate herself into the dominant culture of the American teenager. As if the struggle to define one’s identity during adolescence is not challenging enough, this student must also create an identity for herself while straddling two cultures.

Being more than familiar with the struggle to find one’s identity, I was immediately drawn to the plight of Clare, the biracial protagonist in Michelle Cliff’s Abeng. After being introduced to this novel in one of my graduate courses, I decided to further explore Cliff’s assertion that the survival of a biracial person is dependent upon whether or not this person is able to create an identity for himself/herself. To do this, I investigate the current research on biracial children, the historical context of the novel, and the influences on Clare’s identity. Then, I use the novel itself to suggest biracial people must develop identities for themselves if they are to continue living. Finally, I conclude by discussing the pedagogical implications of studying identity in Abeng and in multicultural literature in general.

Although this comes as no surprise to teachers who are witnessing shifts in the racial and ethnic composition of their classes, Barbara Tizard and Ann Phoenix in their book Black, White or Mixed Race? state that current data indicates “there are a growing number of people in racially mixed relationships and marked increases in the number of people of mixed parentage”. As children with mixed parentages become more common, one must question the impact this will have on their identities. Will such children classify themselves as black, white, or biracial? How will society define them? How will society’s definition of them affect their lives socially, economically, and emotionally? In the past, it was believed people of mixed-race would suffer from an identity crisis. This sentiment is echoed in Black, White, or Mixed Race? when the authors assert: “‘The prevailing view of mixed children is that they have identity problems because of their ambiguous social position… the stereotype of the tortured misfit’”.

However, recent research suggests this notion of mixed-raced children suffering from an identity crisis is fictitious. As Tizard and Phoenix state, “It is now much more commonly recognized than previously that people of ‘mixed parentage’ largely do not suffer from racialised identity problems [. . .]” (54). As evidence of this conclusion, Tizard and Phoenix cite a study which suggests “that up to the age of 9, at any rate, the majority of mixed-parentage children did not suffer from identity problems; she [the researcher] found them to be happy and secure with an intermediate identity”.

Yet, this conclusion seems premature when one considers the works of authors with mixed-race parentage, such as Michelle Cliff. In fact, Cliff undermines recent research’s assertions that biracial children will not fall victim to identity crises when she comments in interviews on the similarities between herself and Abeng’s protagonist Clare. She is quoted as saying, “‘I was a girl similar to Clare and have spent most of my life and most of my work exploring my identity as a light-skinned Jamaican, the privilege and damage that comes from that identity’” (Dagbovie 96). Obviously, Cliff, like Clare, struggles, or struggled, to define herself…

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Abeng

Penguin Press
1984
176 pages
5.35 x 8.07in
ISBN 9780452274839

Michelle Cliff

Ever since Abeng was first published in 1984, Michelle Cliff has steadily become a literary force. Her novels evoke both the clearly delineated hierarchies of colonial Jamaica and the subtleties of present-day island life. Nowhere is her power felt more than in Clare Savage, her Jamaican heroine, who appeared, already grown, in No Telephone to Heaven. Abeng is a kind of prequel to that highly-acclaimed novel and is a small masterpiece in its own right. Here Clare is twelve years old, the light-skinned daughter of a middle-class family, growing up among the complex contradictions of class versus color, blood versus history, harsh reality versus delusion, in a colonized country. In language that surrounds us with a richness of meaning and voices, the several strands of young Clare’s heritage are explored: the Maroons, who used the conch shell—the abeng—to pass messages as they fought a guerilla struggle against their English enslavers; and the legacy of Clare’s white great-great-grandfater, Judge Savage, who burned his hundred slaves on the eve of their emancipation. A lyrical, explosive coming-of-age story combined with a provocative retelling of the colonial history of Jamaica, this novel is a triumph.

Empire’s progeny: The representation of mixed race characters in twentieth century South African and Caribbean literature

2006-01-01
355 pages
Publication Number: AAT 3249543

Kathleen A. Koljian
University of Connecticut

A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at the University of Connecticut, 2006.

This dissertation is an examination of the portrayal of mixed race characters in South African and Caribbean literature. Through a close reading of the works of representative Caribbean [Derek Walcott, Michelle Cliff, and Jamaica Kincaid] and South African authors, [Bessie Head, Zoe Wicomb, and Zakes Mda] my dissertation will construct a more valid paradigm for the understanding of mixed-race characters and the ways in which authors from the Caribbean and South Africa typically deploy racially mixed characters to challenge the social order imposed during colonial domination. These authors emphasize the nuanced and hierarchical conceptualizations of racialized identity in South Africa and the Caribbean. Their narratives stand in marked contrast to contemporary models of ‘hybridity’ promulgated by prominent post-colonial critics such as Homi Bhabha and his adherents. In this dissertation, I hope to provide a more historically and culturally situated paradigm for understanding narrative portrayals of mixed race characters as an alternative to contemporary theories of ‘hybridity’. Current paradigms within post-colonial theory are compromised by their lack of historical and cultural specificity. In failing to take into account specific and long-standing attitudes toward racial identity prevalent in particular colonized cultures, these critics founder in attempts to define the significance of the racially mixed character in postcolonial literature. Bhabha, for example, fails to recognize that the formation of racialized identity within the Caribbean and South Africa is not imagined in simple binary terms but within a distinctly articulated racial hierarchy. Furthermore, Bhabha does not acknowledge the evolution of attitudes and ideas that have shaped the construction and understanding of mixed-race identity. After a brief survey of the scientific discourse of race in the colonial era, and a representative sampling of key thematic elements and tropes in early colonial literature to demonstrate the intersection of race theory and literature, close readings of individual narratives will demonstrate the limitations of current models of ‘hybridity’ and illuminate the ways in which individual authors and texts are constructed within (and sometimes constrained by) long-standing and pervasive discourses of racialized identity.

Table of Contents

• Introduction: Empire’s Progeny
• “A Small Corner of the Earth”: Bessie Head
• “Colouring the Truth”: Zoe Wicomb
• Birthing the Rainbow Nation: Zakes Mda’s Madonna of Excelsior
• The “Mulatto of Style”: Derek Walcott’s Carribean Aesthetics
• “Only Sadness Comes from Mixture”: Clare Savage’s Matrilineal Quest
• Xeula and Oya: Jamaica Kincaid’s Autobiography of My Mother
• Conclusion
• Works Cited

Read a preview here.
Purchase the full dissertation here.

Fluidity without Postmodernism: Michelle Cliff and the “Tragic Mulatta” Tradition

African American Review
Vol. 32, No. 4 (Winter, 1998)
pages 673-689

Suzanne Bost, Associate Professor of English
Loyola University

I am writing the story of my life as a statue… I wish they had carved me from the onyx of Elizabeth Catlett.  Or molded me from the dark clay of Augusta Savage.  Or cut me from mahogany or cast me in bronze.  I wish I were dark plaster like Meta Warrick Fuller’s Talking Skull.  But I appear more as Edmonia Lewis’s Hagar—wringing her hands in the wilderness—white marble figure of no homeland—her striations caught within.  (Cliff, Land 85)

In “The Laughing Mulatto (Formerly a Statue) Speaks,” Michelle Cliff invokes past stereotypes of the mulatto and the sculptors who remolded them. From Edmonia Lewis (1844-1909)—the half-black, half-Chippewasculpor who gained international fame with the help of abolitionists William Lloyd Garrison and Lydia Maria Child—to Augusta Savage (1892-1962)—the Harlem Renaissance artists who sculpted busts of W. E. B. Du Bois, Frederick Douglass, and Marcus Garvey—black artists have been reconstructing images of African Americans.  The speaker of “The Laughing Mulatto” identifies with racial “betweeenness,” yet she also subverts racist conventions that privilege the whiteness within biracial African Americans. She wishes that her skin were darker: onyx, mahogany, or bronze, not white marble (Cliff, Land 85).  Her wish implicitly compares race to workable materials, as if racial identity were something that could be chiseled and molded by an artist…

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Fading to white, fading away: biracial bodies in Michelle Cliff’s Abeng and Danzy Senna’s Caucasia

African American Review
2006-03-22

Michelle Goldberg

However dissimilar individual bodies are, the compelling idea of common, racially indicative bodily characteristics offers a welcome short-cut into the favored forms of solidarity and connection, even if they are effectively denied by divergent patterns in life chances and everyday experiences.—Paul Gilroy, Against Race

the invisible in me is counter to the visible.—Michelle Cliff, “The Black Woman As Mulatto”

Michelle Cliff’s Abeng (1986) and Danzy Senna’s Caucasia (1998) typify a recent literary uptrend: a dramatic increase in biracial fiction, memoir, and theory, in biracial discourses of passing, invisibility, and identity. Abeng, which received widespread critical acclaim, and Caucasia, the winner of numerous 1998 “Best Book” awards, introduce characters whose mixed race parentage holds true for a growing number of multiracial Americans. Both novels offer biracial characters who resist racial labels while staying especially connected to “blackness.” In Abeng and Caucasia, respectively, the white bodies of Clare Savage and Birdie Lee misrepresent identities that remain ascribed to, yet not confined by, “blackness.”…

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