Between the eighteenth and mid-twentieth centuries, countless African Americans passed as white, leaving behind families and friends, roots and community. It was, as Allyson Hobbs writes, a chosen exile, a separation from one racial identity and the leap into another. This revelatory history of passing explores the possibilities and challenges that racial indeterminacy presented to men and women living in a country obsessed with racial distinctions. It also tells a tale of loss. As racial relations in America have evolved so has the significance of passing. To pass as white in the antebellum South was to escape the shackles of slavery. After emancipation, many African Americans came to regard passing as a form of betrayal, a selling of one’s birthright. When the initially hopeful period of Reconstruction proved short-lived, passing became an opportunity to defy Jim Crow and strike out on one’s own. Although black Americans who adopted white identities reaped benefits of expanded opportunity and mobility, Hobbs helps us to recognize and understand the grief, loneliness, and isolation that accompanied—and often outweighed—these rewards. By the dawning of the civil rights era, more and more racially mixed Americans felt the loss of kin and community was too much to bear, that it was time to “pass out” and embrace a black identity. Although recent decades have witnessed an increasingly multiracial society and a growing acceptance of hybridity, the problem of race and identity remains at the center of public debate and emotionally fraught personal decisions.

White Like Her: My Family’s Story of Race and Racial Passing is the story of Gail Lukasik’s mother’s “passing,” Gail’s struggle with the shame of her mother’s choice, and her subsequent journey of self-discovery and redemption. In the historical context of the Jim Crow South, Gail explores her mother’s decision to pass, how she hid her secret even from her own husband, and the price she paid for choosing whiteness. Haunted by her mother’s fear and shame, Gail embarks on a quest to uncover her mother’s racial lineage, tracing her family back to eighteenth-century colonial Louisiana. In coming to terms with her decision to publicly out her mother, Gail changed how she looks at race and heritage. With a foreword written by Kenyatta Berry, host of PBS's Genealogy Roadshow, this unique and fascinating story of coming to terms with oneself breaks down barriers.

This book brings an emerging nation into focus, from colonial Charleston to frontier Nashville, from the Revolution to the War Between the States. Illustrated and indexed.

This eloquent spokesperson of the movement to abolish government sponsorship of the race notion believes that the one-drop rule ignores science, crushes tolerance, and mocks the American Dream. This collection of essays on multi-racialism originally appeared in Interracial Voice magazine.

From the moment Adam and Eve were expelled from Paradise, exile has been a part of the human experience. The circumstances in which individuals or entire peoples are compelled to leave their homeland are as various as they are numerous, and in this book John Simpson has brought together examples of exile from all over the world, and from all periods of history. The emphasis is on personal experience, with writers from Ovid to Solzhenitsyn describing their exile, their emotions, their struggle and their despair. For those who have chosen a life in exile, the response is more mixed: ambivalence about the country they have left and the country they have chosen suffuses the writing of intellectuals seeking freedom of speech, as of ex-pats living in India or Australia. Those persecuted for their faith or their politics rub shoulders with those fleeing from war, or from debt, or even from the weather. Castaways and spies, premiers and princes describe their departure, their reception and sometimes their return, in an anthology that is by turns inspiring, moving, and deeply thought-provoking. With sources ranging from police records, newspaper articles, interviews, letters and memoirs, as well as verse and fiction, and settings as remote as Iran and Russia, China and Palestine, The Oxford Book of Exile provides a fascinating insight into an experience that touches so many, and captures the imagination of us all.

This stand-alone novel in the Valdemar series continues the story of prickly weapons-master Alberich. Once a heroic Captain in the army of Karse, a kingdom at war with Valdemar, Alberich becomes one of Valdemar's Heralds. Despite prejudice against him, he becomes the personal protector of young Queen Selenay. But can he protect her from the dangers of her own heart?

As W. E. B. DuBois famously prophesied in The Souls of Black Folk, the fiction of the color line has been of urgent concern in defining a certain twentieth-century U.S. racial “order.” Yet the very arbitrariness of this line also gives rise to opportunities for racial “passing,” a practice through which subjects appropriate the terms of racial discourse. To erode race’s authority, Gayle Wald argues, we must understand how race defines and yet fails to represent identity. She thus uses cultural narratives of passing to illuminate both the contradictions of race and the deployment of such contradictions for a variety of needs, interests, and desires. Wald begins her reading of twentieth-century passing narratives by analyzing works by African American writers James Weldon Johnson, Jessie Fauset, and Nella Larsen, showing how they use the “passing plot” to explore the negotiation of identity, agency, and freedom within the context of their protagonists' restricted choices. She then examines the 1946 autobiography Really the Blues, which details the transformation of Milton Mesirow, middle-class son of Russian-Jewish immigrants, into Mezz Mezzrow, jazz musician and self-described “voluntary Negro.” Turning to the 1949 films Pinky and Lost Boundaries, which imagine African American citizenship within class-specific protocols of race and gender, she interrogates the complicated representation of racial passing in a visual medium. Her investigation of “post-passing” testimonials in postwar African American magazines, which strove to foster black consumerism while constructing “positive” images of black achievement and affluence in the postwar years, focuses on neglected texts within the archives of black popular culture. Finally, after a look at liberal contradictions of John Howard Griffin’s 1961 auto-ethnography Black Like Me, Wald concludes with an epilogue that considers the idea of passing in the context of the recent discourse of “color blindness.” Wald’s analysis of the moral, political, and theoretical dimensions of racial passing makes Crossing the Line important reading as we approach the twenty-first century. Her engaging and dynamic book will be of particular interest to scholars of American studies, African American studies, cultural studies, and literary criticism.