- Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial by Ralina L. Joseph
Ralina Joseph begins Transcending Blackness: From the New Millennium Mulatta to the Exceptional Multiracial with a personal story. Her own engagement with ongoing debates over identity, ancestry, authenticity, and race mirrored political and cultural shifts in perceptions of people of mixed ancestry at the time. As a college student in the 1990s, Joseph quickly embraced the term multiracial to describe her own “race story,” becoming a leader of Brown (University’s) Organization of Multi- and Biracial Students (BOMBS). Being multiracial became, she says, a “full-blown preoccupation” (xv), resulting in her undergraduate thesis on cultural depictions of black-white women. Transcending Blackness continues this project, identifying two related images, the millennial mulatta, and the exceptional multiracial, which operate in a dialectic cultural relationship as a “two-sided stereotype” (5). Joseph defines both representations in relationship to blackness: Millennials are punished for their attempts to identify as black; exceptionals are rewarded for transcending blackness or even race itself. Rather than demonstrating that blackness might be embraced “in messy, hybridized, multiracial forms” in the cultural texts Joseph examines, blackness is the thing that “must be risen above, surpassed, or truly transcended” (4). However, Joseph also introduces a third potential option: multiracial blackness, identifying positively and simultaneously as mixed and as black or African American. While she embraces this option for herself and claims it as a dominant identity, the authors whose works she analyzes never display it in their fictional depictions of this black-white figure. So multiracial blackness forms a third point in a now triangulated relationship that crosses the line between social experience and cultural representation.
Transcending Blackness follows a familiar literary and media studies format: The Preface, Introduction, and Conclusion bracket four chapters, each focusing on a particular genre, work, and multiracial or black-white female character. Joseph’s Introduction lays out her terms and framework, while providing a clear and concise history of people of mixed ancestry, of their treatment and categorization, and of the attitudes toward and circumstances of interracial unions. She also provides a selective trajectory of literary and media depictions of the black-white figure covering roughly a century prior to her target years of 1998-2008. This decade spans the first inclusion of the “pick one or more” option under the federal census’ racial categories, and the election of the first U. S. president who could have—but publically didn’t—exercise that option. Like the twenty years that preceded it, the 1998-2008 decade falls squarely in the overlapping postracial and postfeminist eras that Joseph identifies as key to understanding the shifting meaning of the representations of black-white women. However, her decade is a static one: Her chapters are not chronological, but organized around her analytic positioning of each text and character within her framework.
One result of this is that the four main chapters operate in some ways more as related essays than as an integrated argument. But there is a consistent analytical thread. In the first two chapters Joseph presents two examples of the new millennium mulatta to show “how blackness is cause and effect of sadness and pain for the multiracial African American figure.” The last two chapters then argue that for the exceptional multiracial “blackness is an irrelevant entity” (6). And the first chapter sets up Joseph’s argument, not just for the new millennium mulatta, but also for the absence of the multiracial blackness that Joseph is looking for but doesn’t find—at least not in the form in which she desires it to be. [End Page 787]
Chapter one, “Televising the Bad Race Girl: Jennifer Beals on The L Word, the Race Card, and the Punishment of Mixed-Race Blackness,” focuses on Beals’s character, Bette Porter, in the groundbreaking Showtime drama series (2004-2009) that featured a group of mostly-white lesbian characters as its core ensemble. Joseph’s methodology here is to combine an internal examination of the function of Bette’s...