The Widows

Scholarly perspectives on the mixed race experience.

The dismissal of the “mulatto” through his emasculation is historically grounded: “so frequently did nineteenth century writers depict octoroons as delicate beauties that the word itself began to conjure up images of passive femininity. Although by definition an octoroon was either a male or a female with one-eighth Black blood, Black men in novels were rarely described as such.” There is, of course, an immense bibliography of work (primary and secondary) concerning the “tragic mulatto” as a typically female protagonist, who is unable to find her place in society because of her biracial heritage. This displacement has sexual implications, explains Cynthia Nakashima: “[b]ecause of the structure of power and domination in the American gender system… weakness and vulnerability can be very exciting and attractive when applied to females.” Although the mulatta narratives are intended to evoke sympathy, they often culled readerly desire instead.

Dunning, Stefanie. “Demystifying the Tragic Mulatta: The Biracial Woman as Spectacle.” Stanford Black Arts Quarterly 2.3 (Summer/Spring 1997). 12-14.

The Widows

The Widows

NeWest Press
April 1998
256 pages
Paperback ISBN: 978-1-896300-30-6

Suzette Mayr

Hannelore, Clotilde, and Frau Schnadelhuber are three old women tired of living in a world which does not allow old women to be seen or heard. Deciding to shake their fists at such a world, the three women plot to go over Niagara Falls in a bright orange space-age barrel. With the assistance of Cleopatra Maria, the 26-year-old genius granddaughter of Hannelore and grandniece of Clotilde, the four women steal the barrel from a travelling show and drive it across Canada determined to prove their worth to a world devoted to youth.

Tags: NeWest Press, Suzette Mayr

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Mixed Race Studies

The Widows

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