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• W1542034626 abstract "Marcia Alesan Dawkins. Clearly Invisible Racial Passing and Color of Cultural Identity. Waco: Baylor University Press, 2012. xvi + 269 pp. $21.85.Michele Elam. Souls of Mixed Folk: Race, Politics and Aesthetics in New Millennium. Stanford: Stanford UP, 2011. xxiii + 277 pp. $20.89.According to W.E.B. DuBois's prophetic theory articulated in Souls of Black Folk (1903), the problem of twentieth century is problem of color line (221). Myriad critical and popular pieces over past several years suggest that this theory has run its course: celebration of race people putatively implies end of race. Certainly election of first biracial president has been touted as epitome of post-race life in America. Yet as recent critical interventions by Michele Elam and Marcia Alesan Dawkins remind us, race remains prevalent because of biracial people, not in spite of it.The continuities between DuBois's theory and Elam's are underscored by title of latter's monograph. In Souls of Mixed Folk, Stanford University English Professor asserts that notion of post-Black art being apolitical is complete fiction, much like idea that post-Civil Rights politics are in decline. By examining images of race subjects in wide range of artistic forms, Elam argues that these venues are newer locations that engage issues of civil rights and change (16). To accept this belief, she begins her book by convincing readers that increased interest in race deludes many people into believing that race no longer exists. If this is truly case, then why do fictional representations of biracial people continue to represent anxiety across multitude of genres? More specifically, why has last several years seen resurgence in narratives of racial passing-such as Philip Roth's Human Stain?Elam explores these questions across five thoroughly researched and well-written chapters. first traces history of race studies in curricula across nation while raising related yet ignored issues. For instance she problematizes focus of heteronormative depictions of race families at expense of homosexual ones, while also reminding us that Americans have historically been result of sexual violation. She believes we must be mindful of considering product of these unions as representatives of racial progress without understanding nuances of slavery and violence inflicted on black bodies by whites.Chapter two changes focus from history to contemporary comic strips by Aaron McGruder and Nate Creekmore. In their works, Elam rightly sees racial identity as a matter of public negotiation, location, cultural affirmation, political commitment, and historical homage (58). In chapter four, Elam situates traditional European against mixed race bildungsroman. former focuses on social incorporation of individual (125) whereas protagonists in latter are not incorporated into society or progress that they are supposed to represent . . . [and they] challenge popular image of 'modern minority' (126). She applies her theory of mixed race bildungsroman to Emily Raboteau's Professor's Daughter (1997) and Danzy Senna's Symptomatic (2004). Elam's last chapter examines performances of race in Carl Hancock Rux's play Talk and The Racial Draft skit from Dave Chappelle's defunct late-night comedy show. Her argument here is that in both performances, there is re-visioning and re-membering of national order (161).The middle chapter is one that is most germane to this journal, as it examines racial passing in Danzy Senna's Causcasia (1999), Philip Roth's Human Stain (2000), and Colson Whitehead's Intuitionist (2000). Despite research to contrary, Elam begins this chapter by arguing that racial passing literature is far from being an obsolete genre, as these novels attest. …" @default.
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• W1542034626 title "Clearly Invisible Racial Passing and the Color of Cultural Identity by Marcia Alesan Dawkins, and: The Souls of Mixed Folk: Race, Politics and Aesthetics in the New Millennium by Michele Elam (review)" @default.
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