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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Mixed Mondays Film Series at the Brooklyn Historical Society

Posted in Canada, Communications/Media Studies, Gay & Lesbian, Live Events, Media Archive, Passing, Social Science, United Kingdom, United States, Videos, Women on 2014-08-18 02:25Z by Steven

Mixed Mondays Film Series at the Brooklyn Historical Society

Crossing Borders, Bridging Generatons
Brooklyn Historical Society
128 Pierrepont Street
Brooklyn, New York 11201
Mondays, 2014-08-04 through  2014-08-18, 18:30 EDT (Local Time)

Hosted by and post-screening discussion with:

Erica Chito Childs, Professor of Sociology (author of Navigating Interracial Borders and Fade to Black and White: Interracial Images in Popular Culture)
City University of New York

This series is co-sponsored by MixedRaceStudies.org.

August 18: Toasted Marshmallows (2014)

Come watch the first public screening of the documentary Toasted Marshmallows in the U.S.! Follow filmmakers Marcelitte Failla and Anoushka Ratnarajah on a journey across Canada and the U.S. as they document the experiences of other mixed-race identified women, delve into their own cultural and ethnic histories, and tell stories about color, passing, privilege, ancestry, and belonging. An extended preview of the film will be followed by a dialogue with the filmmakers and Erica Chito-Childs.

August 11: My Beautiful Laundrette (1985):

British-born, half-Pakistani playwright and novelist Hanif Kureishi won an Oscar nomination for his 1985 screenplay for My Beautiful Laundrette, a richly layered film about Pakistani immigrant life in Thatcherite London.

Come watch the protagonist, Omar, navigate mixed-income and mixed-race arrangements in his family and develop an unlikely, yet beautiful, queer relationship with Johnny (Daniel Day Lewis). Set against the backdrop of anti-immigrant racism and fascism, the story of Omar’s laundrette presents an electrifying set of possibilities around class, race, sexuality, belonging, and love.

August 4: Imitation of Life (1959):

The Mixed Monday film series launches with a 1959 Lana Turner classic—Imitation of Lifewhich explores the story of an African-American woman and her light-skinned, mixed-race daughter who passes for white. Come munch on popcorn, watch the film and discuss the history and cultural context around mixed families, race relations and popular culture.

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Your Face in Mine, A Novel

Posted in Books, Media Archive, Novels, Passing, United States on 2014-08-15 06:22Z by Steven

Your Face in Mine, A Novel

Riverhead Books (an imprint of Penguin Press)
2014-08-14
384 pages
Hardcover ISBN: 9781594488344
ePub ISBN: 9780698168817

Jess Row

An award-winning writer delivers a poignant and provocative novel of identity, race and the search for belonging in the age of globalization.

One afternoon, not long after Kelly Thorndike has moved back to his hometown of Baltimore, an African American man he doesn’t recognize calls out to him. To Kelly’s shock, the man identifies himself as Martin, who was one of Kelly’s closest friends in high school—and, before his disappearance nearly twenty years before, skinny, white, and Jewish. Martin then tells an astonishing story: After years of immersing himself in black culture, he’s had a plastic surgeon perform “racial reassignment surgery”—altering his hair, skin, and physiognomy to allow him to pass as African American. Unknown to his family or childhood friends, Martin has been living a new life ever since.

Now, however, Martin feels he can no longer keep his new identity a secret; he wants Kelly to help him ignite a controversy that will help sell racial reassignment surgery to the world. Kelly, still recovering from the death of his wife and child and looking for a way to begin anew, agrees, and things quickly begin to spiral out of control.

Inventive and thought-provoking, Your Face in Mine is a brilliant novel about cultural and racial alienation and the nature of belonging in a world where identity can be a stigma or a lucrative brand.

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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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After the ‘White Lie’ Implodes, a Rich Narrative Unfurls

Posted in Articles, Autobiography, Book/Video Reviews, Identity Development/Psychology, Media Archive, Passing, Religion, United States on 2014-08-02 16:59Z by Steven

After the ‘White Lie’ Implodes, a Rich Narrative Unfurls

The New York Times
2014-08-01

Felicia R. Lee

‘Little White Lie,’ Lacey Schwartz’s Film About Self-Discovery

Lacey Schwartz, a 37-year-old Harvard Law School graduate turned filmmaker, moves with ease in circles in which her identity as both black and Jewish seems unremarkable. What makes her biography striking is that Ms. Schwartz, a woman with light brown skin and a cascade of dark curls, grew up believing she was white.

How and why that happened is the subject of her film, “Little White Lie,” which has its premiere on Sunday at the San Francisco Jewish Film Festival, its first stop on the festival circuit before being broadcast on PBS next year. With Ms. Schwartz narrating, the camera travels to a funeral, girlfriend gab sessions and even her therapy appointments. At each stop, in raw conversations with family and friends, Ms. Schwartz asks over and over, how and why did she pass as white?

“I come from a long line of New York Jews,” she says early in the film, as photographs of her white relatives flash across the screen. “My family knew who they were, and they defined who I was.”

Ms. Schwartz was an only child who grew up in the mostly white town of Woodstock, N.Y. Her parents, Peggy and Robert Schwartz, told her that she favored her father’s swarthy Sicilian grandfather. It was not until she went off to college that she learned the truth.

Before starting college, “I was already questioning my whiteness because of what other people said and because I was aware that I looked different from my family,” she said in a recent interview. Then, based on the photograph accompanying her application, Georgetown University passed her name along to the black student association, which contacted her.

The university “gave me permission” to explore a black identity, Ms. Schwartz said…

…Bliss Broyard explored similar territory in a memoir about her father, the book critic Anatole Broyard, a black man who passed as white. She has said she was raised white but learned the truth about her father on his deathbed. But Ms. Broyard, unlike Ms. Schwartz, grew up with her biological father.

Jenifer L. Bratter, director of the Program for the Study of Ethnicity, Race and Culture at Rice University, said the film’s twisting tale was part of “a larger story about race in America.”

“Biological race trumps cultural race,” she added. “Race is something we’re really invested in validating or comprehending. It’s about how we understand race as a marker of difference, something that a story about ancestry can’t resolve.”..

Read the entire review here.

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The Invisible Line: A Secret History of Race in America – Daniel J. Sharfstein

Posted in Audio, History, Interviews, Live Events, Media Archive, Passing, United States on 2014-07-30 20:15Z by Steven

The Invisible Line: A Secret History of Race in America – Daniel J. Sharfstein

Research at the National Archives and Beyond
BlogTalk Radio
Thursday, 2014-06-26, 21:00 EDT, (Friday, 2014-06-27, 01:00Z)

Bernice Bennett, Host

Daniel J. Sharfstein, Professor of Law
Vanderbilt University, Nashville, Tennessee

Join author, Daniel J. Sharfstein for a discussion of his book and research – The Invisible Line – Three American Families and the Secret Journey from Black to White.

Defining their identities first as people of color and later as whites, these families provide a lens for understanding how people thought about and experienced race and how these ideas and experiences evolved—how the very meaning of black and white changed—over time. Cutting through centuries of myth, amnesia, and poisonous racial politics, The Invisible Line will change the way we talk about race, racism, and civil rights.

Daniel J. Sharfstein is a professor of law at Vanderbilt University. A graduate of Harvard College and Yale Law School, he has been awarded fellowships for his research on the legal history of race in the United States from Harvard, New York University, and the National Endowment for the Humanities. His book is available in paperback as The Invisible Line: A Secret History of Race in America, and it has won three prizes: the J. Anthony Lukas Prize for narrative non-fiction, the Cromwell Book Prize from the American Society for Legal History, and the Hurst Prize from the Law and Society Association. Daniel has also spent the past year as a Guggenheim Fellow, working on a new book.

Defining their identities first as people of color and later as whites, these families provide a lens for understanding how people thought about and experienced race and how these ideas and experiences evolved—how the very meaning of black and white changed—over time. Cutting through centuries of myth, amnesia, and poisonous racial politics, The Invisible Line will change the way we talk about race, racism, and civil rights.

Check Out History Podcasts at Blog Talk Radio with BerniceBennett on BlogTalkRadio

Download the episode here.

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