The Penumbral Spaces of Nella Larsen’s Passing: Undecidable bodies, mobile identities, and the deconstruction of racial boundaries

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing on 2014-09-08 20:07Z by Steven

The Penumbral Spaces of Nella Larsen’s Passing: Undecidable bodies, mobile identities, and the deconstruction of racial boundaries

Gender, Place & Culture: A Journal of Feminist Geography
Volume 13, Issue 3, 2006
pages 227-246
DOI: 10.1080/09663690600700972

Perry L. Carter, Assistant Professor of Human Geography
Texas Tech University

Nella Larsen’s 1929 novel, Passing, is a psychological drama centering around two fair-skinned women. One, Clare Kendry, passes as the White wife of a financially successful racist; the other, Irene Redfield, is a ‘race woman’ living in upper Manhattan during the era of the Renaissance Harlem. Clare and Irene are undecidables, neither White nor Black, fluid subjects traversing the boundaries of race—passing. Passing is an act of insinuating oneself into forbidden spaces by jettisoning former identities. It is as much a transgression of spatial boundaries as it is of racial boundaries. In the novel Clare passes by merely crossing from Black space into White space, and along the way shedding a Black identity for a White one. This paper examines the mobility of identities across racial geographies and how this movement destabilizes notions of race and of raced spaces.

We encounter the world in our bodies, and through our bodies’ most exquisitely sensitive sense, our skins, we take the world into ourselves. We have made and remade a world where nearly every experience is shaded and shaped by the color of those bodies, the tones of those skins. (Jane Lazarre, Beyond the Whiteness of Whiteness: memoir of a White mother of Black sons, 1997, p. 94)…

Read or purchase the article here.

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Intervening in the racial imaginary: ‘mixed race’ and resistance in contemporary Australian Literature

Posted in Dissertations, Literary/Artistic Criticism, Oceania on 2014-08-18 18:37Z by Steven

Intervening in the racial imaginary: ‘mixed race’ and resistance in contemporary Australian Literature

University of Sydney
2014
243 pages

Lyn Sue Dickens

A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences

This thesis examines the extent to which three contemporary Australian novels can be regarded as interventions in “the modern racial imaginary” (Mignolo 2011a, p. 277). In order to analyse the novels as interventions, this thesis looks in particular at depictions and conceptualisations of mixed race subjectivity and experience in the texts. The novels, The World Waiting to be Made by Simone Lazaroo (1994), Shanghai Dancing by Brian Castro (2003) and The Lost Dog by Michelle de Kretser (2007) all explore mixed subjectivities and experiences in the Asia-Pacific region. Throughout this thesis I examine the complexity and disruptive potential of the concept of ‘mixed race’. I argue that through the depiction of people of mixed race and their traumatic experiences of racialisation, the novels critique, resist and disrupt concepts of race and colonial worldviews.

I further explore the ways in which the novels both promote and exemplify alternative ways of perceiving and interacting with other human beings that do not rely on racial categories or the humanitas/anthropos divide (Mignolo 2011b, p. 90). In order to do this I draw on Walter Mignolo’s concepts of border thinking/sensing and delinking, and Édouard Glissant’s work in The Poetics of Relation. I argue that critical examination of mixed race subjectivity and representation, in conjunction with transcultural concepts such as Relation and border thinking, provide a means of both challenging traditional concepts of race and essentialised cultures, and thinking beyond their boundaries. Furthermore, the novels themselves open up a transcultural space with transformative potential, which encourages the imagination of alternative, more equal worlds of Relation.

Read the entire thesis here.

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Passing Interest: Racial Passing in US Novels, Memoirs, Television, and Film, 1990–2010

Posted in Anthologies, Books, Communications/Media Studies, Literary/Artistic Criticism, Media Archive, Passing on 2014-08-18 02:28Z by Steven

Passing Interest: Racial Passing in US Novels, Memoirs, Television, and Film, 1990–2010

State University of New York Press
July 2014
352 pages
Hardcover ISBN13: 978-1-4384-5227-2
Electronic ISBN13: 978-1-4384-5229-6

Edited by:

Julie Cary Nerad, Associate Professor of American Literature
Morgan State University, Baltimore, Maryland

Explores how the trope of racial passing continues to serve as a touchstone for gauging public beliefs and anxieties about race in this multiracial era.

The first volume to focus on the trope of racial passing in novels, memoirs, television, and films published or produced between 1990 and 2010, Passing Interest takes the scholarly conversation on passing into the twenty-first century. With contributors working in the fields of African American studies, American studies, cultural studies, film studies, literature, and media studies, this book offers a rich, interdisciplinary survey of critical approaches to a broad range of contemporary passing texts. Contributors frame recent passing texts with a wide array of cultural discourses, including immigration law, the Post-Soul Aesthetic, contemporary political satire, affirmative action, the paradoxes of “colorblindness,” and the rhetoric of “post-racialism.” Many explore whether “one drop” of blood still governs our sense of racial identity, or to what extent contemporary American culture allows for the racially indeterminate individual. Some essays open the scholarly conversation to focus on “ethnic” passers—individuals who complicate the traditional black-white binary—while others explore the slippage between traditional racial passing and related forms of racial performance, including blackface minstrelsy and racial masquerade.

Table of Contents

  • Preface: The “Posts” of Passing / Gayle Wald
  • Acknowledgments
  • 1. Introduction: The (Not So) New Face of America / Julie Cary Nerad
  • 2. On the Margins of Movement: Passing in Three Contemporary Memoirs / Irina Negrea
  • 3. “A Cousin to Blackness”: Race and Identity in Bliss Broyard’s One Drop: My Father’s Hidden Life / Lynn Washington and Julie Cary Nerad
  • 4. Can One Really Choose? Passing and Self-Identification at the Turn of the Twenty-First Century / Jené Schoenfeld
  • 5. Passing in Blackface: The Intimate Drama of Post-Racialism on Black. White / Eden Osucha
  • 6. Broke Right in Half: Passing of/in Alice Randall’s The Wind Done Gone / Julie Cary Nerad
  • 7. Passing for Chicano, Passing for White: Negotiating Filipino American Identity in Brian Ascalon Roley’s American Son / Amanda Page
  • 8. Race in the Marketplace: Postmodern Passing and Ali G / Ana Cristina Mendes
  • 9. Passing for Black, White, and Jewish: Mixed-Race Identity in Rebecca Walker and Danzy Senna / Lori Harrison-Kahan
  • 10. Smiling Faces: Chameleon Street, Racial Passing/Performativity, and Film Blackness / Michael B. Gillespie
  • 11. Consuming Performances: Race, Media, and the Failure of the Cultural Mulatto in Bamboozled and Erasure / Meredith McCarroll
  • Bibliography
  • Contributor Biographies
  • Index
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Blood Work: Imagining Race in American Literature, 1890-1940

Posted in Books, Forthcoming Media, Literary/Artistic Criticism, Monographs, United States on 2014-08-18 02:16Z by Steven

Blood Work: Imagining Race in American Literature, 1890-1940

Louisiana State University Press
January 2015
240 pages
5.50 x 8.50 inches
Hardcover ISBN: 9780807157848

Shawn Salvant, Assistant Professor of English and African American
University of Connecticut

The invocation of blood—as both an image and a concept—has long been critical in the formation of American racism. In Blood Work, Shawn Salvant mines works from the American literary canon to explore the multitude of associations that race and blood held in the consciousness of late nineteenth- and early twentieth-century Americans.

Drawing upon race and metaphor theory, Salvant provides readings of four classic novels featuring themes of racial identity: Mark Twain’s Pudd’nhead Wilson (1894); Pauline Hopkins’s Of One Blood (1902); Frances Harper’s Iola Leroy (1892); and William Faulkner’s Light in August (1932). His expansive analysis of blood imagery uncovers far more than the merely biological connotations that dominate many studies of blood rhetoric: the racial discourses of blood in these novels encompass the anthropological and the legal, the violent and the religious. Penetrating and insightful, Blood Work illuminates the broad-ranging power of the blood metaphor to script distinctly American plots—real and literary—of racial identity.

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“Only the News They Want to Print”: Mainstream Media and Critical Mixed-Race Studies

Posted in Articles, Census/Demographics, Literary/Artistic Criticism, Media Archive, United States on 2014-08-15 06:17Z by Steven

“Only the News They Want to Print”: Mainstream Media and Critical Mixed-Race Studies

Journal of Critical Mixed Race Studies
Volume 1, Number 1 (2014-01-30)
pages 162-182
ISSN: 2325-4521

Rainier Spencer, Associate Vice Provost for Academic Affairs; Professor of Afro-American Studies
University of Nevada, Las Vegas

This essay lauds the publication of the Journal of Critical Mixed Race Studies, then turns immediately to argue that the journal must focus itself on actively becoming the authoritative voice on mixed-race matters, while also speaking out against naive colorblindness and premature declarations of postraciality. This is crucial because the public receives its information on mixed-race identity from the mainstream media, which has a long historical record of inaccurate and damaging reporting on mixed race. Using the recent “Race Remixed” series in the New York Times as a contemporary example of this problem, the essay argues that it is imperative that mainstream media writers seek out and use scholarly input in the publication of their articles.

With the publication of this inaugural issue of the Journal of Critical Mixed Race Studies, the field of study demarcated by the journal’s title takes a major leap forward both materially and symbolically. The material leap has to do with the fact that there is now an academic publication devoted expressly to the field of critical mixed-race studies, a single source to go to for the latest in mixed-race research. Even though the journal certainly cannot publish everything in this field, and scholars will still find themselves combing through libraries and the Internet for newly published work, my hope is that this journal will nonetheless become the unquestioned touchstone of mixed-race scholarship. The symbolic leap, on the other hand, while related to the material one, has to do with the intangible satisfaction that attends to having “made it,” so to speak. While there is no difference between the good scholarly work done immediately prior to the launching of the journal and the good scholarly work we find in the pages of this issue, there is nevertheless a gratifying sense that “we”—those of us who work and publish in this area—now have a journal to call home. The importance of this should not be minimized…

…One crucial observation to make about mixed-race identity work over the past twenty years is that even though there has been phenomenal growth and change in the work itself, non-scholarly reporting on mixed race has not kept pace with those advancements. While scholarly studies of mixed race have proliferated, creating both the academic field and now this journal, and while mixed-race identity work has become more and more sophisticated, the quality of media coverage has remained ossified. In fact, mainstream media analysis of mixed-race identity in the United States is generally no different whether one reads an article from 1994, 2000, 2006, or 2012. Given its outsize impact on the general public, the dominant media in the United States is in fact a hegemonic entity. Its coverage of mixed-race identity has crucial effects on attitudes, opinions, and even public policy; therefore, the accuracy of its reporting is critical. For this reason, dominant media representation of multiraciality will be my main focus in this article as I consider the challenges it presents to critical mixed-race studies…

…The specific details being reported aside, the deeper structural problem with mainstream media stories on the alleged postracial power of mixed-race identity or the supposed significance of changing racial demographics is that the information presented is often one-sided, simplistic, geared to a tabloid sensibility, and does not reflect the multiform ways that edifices of power have race embedded within them, whether visible or not. It is a matter of sensationalism taking precedence over serious analysis. David Roediger identifies this tendency of providing sensationalism without substance, noting that “often multiracial identities and immigration take center stage as examples of factors making race obsolete” and that “we are often told popularly that race and racism are on predictable tracks to extinction. But we are seldom told clear or consistent stories about why white supremacy will give way and how race will become a ‘social virus’ of the past.” Roediger’s words highlight the importance of unmasking this postracial aspiration for what it is: an effort to provide comfort to a nation that is unwilling to do the hard work required to deal effectively with centuries of entrenched racism and the resultant consequences…

Read the entire article here.

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In a Novelist’s World, You Choose Your Race

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, United States on 2014-08-13 01:26Z by Steven

In a Novelist’s World, You Choose Your Race

The New York Times
2014-08-11

Felicia R. Lee

In the weak light of a February afternoon, Kelly Thorndike has a strange chance encounter in a Baltimore parking lot with Martin Lipkin, an old friend from high school. But time has brought a big change. The Martin that Kelly knew was white. The man standing before him is black.

Their meeting sets the stage for “Your Face in Mine,” Jess Row’s debut novel, which is to be published on Thursday by Riverhead Books, joining a long tradition of fiction about racial guises. Mr. Row’s tale is set in a near future in which Martin is the first person to undergo “racial reassignment surgery” to change his features, skin color, hair texture and even his voice. His surgical package includes a new biography and even a dialect coach — all a corrective for Martin’s “racial dysphoria.”

“I wanted to make the novel the logical outcome of the way certain vectors in our society are going,” Mr. Row, 39, a soft-spoken, self-described WASP, said during a recent interview. He pointed to the current state of plastic surgery, in which it’s possible for features and body parts to be changed to mask or remake ethnicity. “I wanted people to ask, ‘If I could have the surgery, would I?’ ” said Mr. Row, the author of two story collections, “The Train to Lo Wu” and “Nobody Ever Gets Lost.”

A fan of James Baldwin’s work, Mr. Row said he set out to have “Your Face in Mine” explore the ways people try to escape their racial identities, as well as investigate their desire for racial reconciliation and deeply unconscious fears and discomforts around race.

Passing” has been a major theme in African-American literature for over a century, and has usually meant blacks living as whites to escape bias. “Your Face in Mine” owes something to classic stories of passing like “The Autobiography of an Ex-Colored Man,” by James Weldon Johnson (published anonymously in 1912 and under his name in 1927), and the 1931 satire “Black No More,” by George S. Schuyler, in which blacks rush to embrace a new scientific process to become white.

It also calls to mind “Black Like Me,” the groundbreaking 1961 account by John Howard Griffin, a white journalist, who darkened his skin to appear African-American and wrote about the discrimination he experienced…

…“Is Race Plastic?,” a recent New York magazine cover article, considered just this issue, exploring the implications of “ethnic plastic surgery” with its menu of procedures that go about “sharpening the stereotypically flat noses of Asians, blacks and Latinos, while flattening the stereotypically sharp noses of Arabs and Jews.”

Allyson Hobbs, an assistant professor of history at Stanford, whose book, “A Chosen Exile: A History of Racial Passing in American Life,” comes out in October, said that in life and in literature, passing showed the complexity, and even absurdity, of racial categories.

“Historically, it was much clearer what was to be gained by being white, in the literature as well,” she said. “There was a social and economic logic to becoming white.” About “Your Face in Mine,” she said: “What this book sort of raises as a question is what someone expects to gain by being black, Hispanic or Asian in the 21st century? What is gained and what is lost through a racial reassignment in the 21st century?”…

Read the entire article here.

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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

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, United States on 2014-08-12 14:05Z by Steven

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…

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Reading Race in Nella Larsen’s Passing and the Rhinelander Case

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, United States on 2014-08-09 22:48Z by Steven

Reading Race in Nella Larsen’s Passing and the Rhinelander Case

African American Review
Voluume 46, Numbers 2-3, Summer/Fall 2013
pages 345-361
DOI: 10.1353/afa.2013.0076

Rebecca Nisetich, Assistant Director, Honors Program
University of Southern Maine

Toward the end of Nella Larsen’s Passing (1929), the protagonist Irene Redfield imagines how her friend Clare Kendry’s racist husband might react if he discovers his wife’s “true” racial identity: “What if Bellew should divorce Clare? Could he? There was the Rhinelander case.” This essay argues that what seems like a casual reference to a contemporary event actually underscores a central theme of the novel: the Rhinelander case and Passing both illustrate the problematic ways Americans sought to categorize mixed-race individuals in the 1920s, but while the Rhinelander verdict denies the existence of a middle ground between racial absolutes, the novel affirms it. Larsen directly references the Rhinelander case only once, but its themes echo throughout the text of Passing, which challenges the visibility of race and the conception of racial identity as intimately connected to one’s essential self. Irene’s reference calls to mind a very public trial that forced Americans to question their understanding of racial difference. In Passing, Larsen explores the conceptions of race as a real physical fact and as an imagined social construct, and challenges the logic of “common knowledge” and visibility in assigning racial identity to individuals.

Read the entire article here.

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

Posted in Articles, Literary/Artistic Criticism, Louisiana, Media Archive, Passing, United States on 2014-08-06 18:46Z by Steven

“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.

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The Octoroon

Posted in Anthologies, Books, Literary/Artistic Criticism, Media Archive, Passing, Slavery, United States on 2014-08-06 18:08Z by Steven

The Octoroon

Broadview Press
2014-05-16 (orignially published in 1859)
136 pages
Paperback / PDF / ePub
ISBN: 9781554812110 / 1554812119

Dion Boucicault

Edited by:

Sarika Bose, Lecturer of English
University of British Columbia

Joseph Black, Professor of English
University of Massachusetts, Amherst

et al.

Regarded by Bernard Shaw as a master of the theatre, Dion Boucicault was arguably the most important figure in drama in North America and in Britain during the second half of the nineteenth century. He was largely forgotten during the twentieth century—though he continued to influence popular culture (the iconic image of a woman tied to railway tracks as a train rushes towards her, for example, originates in a Boucicault melodrama). In the twenty-first century the gripping nature of his plays is being discovered afresh; when The Octoroon was produced as a BBC Radio play in 2012, director and playwright Mark Ravenhill described Boucicault’s dramas as “the precursors to Hollywood cinema.”

In The Octoroon—the most controversial play of his career—Boucicault addresses the sensitive topic of race and slavery. George Peyton inherits a plantation, and falls in love with an octoroon—a person one-eighth African American, and thus, in 1859 Louisiana, legally a slave. The Octoroon opened in 1859 in New York City, just two years prior to the American Civil War, and created a sensation—as it did in its subsequent British production.

This new edition includes a wide range of background contextual materials, an informative introduction, and extensive annotation.

Table of Contents

  • Acknowledgements
  • Introduction
  • A Note on the Text
  • The Octoroon; or, Life in Louisiana
  • Appendix A: American Reviews
    • 1. “‘The Octoroon.’ A Disgrace to the North, a Libel on the South,” Spirit of the Times; A Chronicle of the Turf, Agriculture, Field Sports, Literature and the Stage (17 December 1859)
    • 2. From “The Octoroon,” The Charleston Courier, Tri-Weekly (22 December 1859)
    • 3. From “Winter Garden–First Night of ‘The Octoroon,’” The New York Herald (7 December 1859)
  • Appendix B: English Reviews
    • 1. “Saving the Octoroon,” Punch (21 December 1861)
    • 2. From “Theatres and Music,” John Bull (Saturday, 23 November 1861)
    • 3. From “Adelphi” (Review of The Octoroon), The Athenaeum (23 November 1861)
    • 4. “Pan at the Play,” Fun (Saturday, 30 November 1861)
    • 5. “Adelphi Theatre” (Review of Revised Play), The Times [London] (12 December 1861)
  • Appendix C: Letters to Editors Concerning the Lawsuit
    • 1. “The Octoroon Conflict: Financial and Political View of the Case–Letter from Mrs. Agnes Robertson Boucicault,” The New York Herald (Friday, 16 December 1859)
  • Appendix D: A Selection of Letters from Boucicault Defending the Content of The Octoroon
    • 1. “Letter from the Author of the ‘Octoroon,’” The New York Herald (7 December 1859)
    • 2. “The Octoroon Gone Home,” New York Times (9 February 1860)
    • 3. “‘The Octoroon’: To the Editor of the Times,” The Times [London] (Wednesday, 20 November 1861)
  • Appendix E: Boucicault on Acting
    • 1. From Dion Boucicault, “The Art of Acting” (1882)
  • Appendix F: Alternative Endings
    • 1. The Illustrated London News (14 December 1882)
    • 2. “Music and the Drama,” Bell’s Life in London and Sporting Chronicle (Sunday, 15 December 1861)
    • 3. From The Octoroon: Founded on Dion Boucicault’s Celebrated and Original Melodrama (1897)
    • 4. From Dion Boucicault, The Octoroon, Lacy’s Acting Edition, No. 963 (c. 1861)
    • 5. From Dion Boucicault, The Octoroon: A Drama in Three Acts (26 October 1861)
  • Appendix G: On Slavery
    • 1. From Dion Boucicault, unpublished note, Theatre Museum, London (1861)
    • 2. From Fredrika Bremer, “Fredrika Bremer Sees the New Orleans Slave Market” (1853)
    • 3. From Civil Code of the State of Louisiana
  • Appendix H: Illustrations
    • 1. From The Illustrated London News (30 November 1861)
    • 2. Cover, Reynolds Miscellany (4 January 1862)
    • 3. Cover, The Octoroon (Dick’s Standard Plays)
  • Permissions Acknowledgments
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