Not es

Introduction

1 . Pluralism is a model of ethnicity introduced by Horace Kallen in his1915 essay “Democracy versus the Melting Pot.”

2. The tragic mulatto character initially surfaced as a tool for Abolitionist propaganda; however, both white and black authors continued to usethis trope well into the twentieth century (Berzon 62–63).

3. In Beyond Ethnicity, Werner Sollors examines several of these plays and attributes their popularity to “the search for republican legitimacy in thenew world” (123).

4 . David R. Roediger has termed these citizens “new immigrants”—“a racially inflected term that categorized the numerous newcomers from southern and eastern Europe as different both from the whites and lon-ger established northern and western European migrants to the United States and from the nonwhite Chinese and other ‘Asiatics’” (5–6).

5 . In The Rise of the Unmeltable Ethnics: Politics and Culture in the Seventies(1971), Michael Novak relies on the term “WASP” to denote the domi-nant culture.

6 . Matthew Frye Jacobson cites the impact of Ashley Montagu’s Race: Man’s Most Dangerous Myth (1942), as well as Franz Boas’s paradigmatich1945 work Race and Democratic Society (y Whiteness 101). s

7 . 77 Examples include Meridian (1972) by Alice Walker; n How I Became Hettie Jones (1990) by Hettie Jones; s Caucasia (1998) by Danzy Senna; aand The Color of Water: A Black Man’s Tribute to His White Mother(1996) by James McBride.

1 The Universalist

1 . Other scholars have discredited this assumption of American guilt. Hasia R. Diner, for example, observes the reluctance of the American government to revoke the quotas established in the 1920s: “Theirrepresentatives in Congress recognized that the American people didnot want to see admission of large numbers of immigrants, Jews in particular” (156).

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2 . As an example, in 1942, M. F. Ashley Montagu published The Creative Power of Ethnic Mixture, in which he refutes white supremacist asser-tions about miscegenation.

3 . Numerous scholars have drawn this link between whiteness and tech-nology, including Ronald Takaki, who argues that technology “servedas metaphor and materialist base for the domination of mind over body, capital over labor, and whites over Indians, blacks, Mexicans, and Asians” ( Iron Cages 148), and Joel Dinerstein, who in his discussion of “posthu-sman” discourse, connects technological innovation with “the American sense of power and revenge, the nation’s abstract sense of well-being, its arrogant sense of superiority, and its righteous justification for global dominance”(569).

4. Both Brian McIlroy and Steven Heine have drawn this connection intheir articles engaging the film.

5 . Michael Novak has noted the central role of Jewish writers in breaking “the WASP hegemony over the American imagination and sensibility” (169).

6 . Diner notes how during the post-World War II period, leading into the 1960s, “postwar American Jews built a public culture that they consid-ered to be the fitting memorial to the Holocaust” (364). She explainsthat while this group of American Jews would later be criticized for not doing enough to memorialize the lives lost, these Jews had no public Jewish culture to work with and helped to build the initial foundationfor what would later be a thriving Jewish popular culture.

7 . 77 Diner offers a different perspective, suggesting the changes had less todo with American guilt and more to do with the actions of AmericanJews, who, she asserts, “held up to public gaze images of the concentra-tion camps, gas chambers, and ghettoes, pictures, both metaphoric andgraphic, of numbers tattooed into Jewish flesh, of families ripped asun-der, lives destroyed, and yet a hopeful ‘saving remnant.’ They did thisin order to encourage the broad public to help them in aiding survivors, exposing perpetrators, and winning support for the State of Israel, as well as advancing liberal political causes they supported” (365).

8 . Qtd. in Walden 156. 9 . Edward Abramson observes, “Although Frank is not an observant Roman

Catholic, as Morris is not an observant Jew, he interprets Morris’s vir-tue, his sheer ability to endure suffering and yet remain moral, in termsof the Catholic tradition within which he was raised” (28).

10 . Philip Roth remarks, “So penance for the criminal penis has been done”(“Imagining” 100). Daniel Walden notes the mention of Passover as symbolic of spring and therefore Frank’s redemption (158).

11 . Aram Goudsouzian remarks on the lack of physical intimacy between the couple: John and Joanna kiss in only one scene, and we see it in therear-view mirror of a taxi (282).

12 . Vera and Gordon observe: “Blacks are allowed to bridge the ultimate social barrier of intermarriage and to be accepted as equals in the whiteworld—as long as they are superheroes played by superstars like Sidney

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Poitier” (95). Andrea Levine extends Vera’s and Gordon’s assertionby noting that Houghton is the only unknown in a cast of “veneratedyactors” (372).

13. Sidney Poitier recognizes the range of interpretations of the unbalancedunion: “What’s the message here? That black people will be accepted by white society only when they’re twice as “white” as the most accom-plished Ivy League, medical graduate? That blacks must pretend to be something they aren’t? Or simply that black society does—of course—contain individuals of refinement, education, and accomplishment, andthat white society—of course—should wake up to that reality?” (119).

14 . Tillie prompted James Baldwin, in The Devil Finds Work, to comparethe film to Birth of a Nation: “in two films divided from each otherby something like half a century” he saw “the same loyal nigger maid, playing the same role, and speaking the same lines” (74). Vera andGordon share this characterization, comparing Tillie to “Mammy inGone with the Wind” (92).

2 The White Witch

1. Ida B. Wells uses the term “white Delilahs” in her pamphlet Southern Horrors: “This statement is not a shield for the despoiler of virtue, nor altogether a defense for the poor blind Afro-American Samsons whosuffer themselves to be betrayed by white Delilahs” (26). Felipe Smith also uses this term as a chapter heading in Body Politics. s

2 . In End of a Primitive (1955), Himes depicts the sexual role-play between ea white woman (Kriss) and black man (Jesse).

3 . Formerly, LeRoi Jones. In his 1964 play, Dutchman, a white womannamed Lula taunts a black man, Clay, until he explodes in a murderous rage against whites, and she kills him.

4 . In his autobiography, Malcolm X describes the way white women wereviewed among his community: “The irony is that those white womenhad no more respect for those Negroes than white men have had for the Negro women they have been ‘using’ since slavery times. And, in turn,Negroes have no respect for the whites they get into bed with” (124).

5 . Ellison casts the white woman as a temptress both daring him to act and warning him to restrain himself in his 1953 novel Invisible Man. n

6 . “The speaker identifies himself as a victim of the witch who has been ‘bound’ by her yellow hair, his strength drained from his soul as he lay helplessly entranced in the arms of the vampire woman. . . . for the black poet, the sociohistorical connections of the white witch to the white Delilah of Wells-Barnett removes this nightmare vision from the realmof the purely aesthetic” (Smith 310).

7 . 77 Portions of this chapter first appeared in my essay “From Black Natonalism to the Ethnic Revival: Meridian’s Lynne Rabinowitz,” pub-lished in MELUS 36.3 (Fall 2011, 159–184), and are reprinted here withSpermission.

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8. While Roberta M. Hendrickson and Lyn Pifer have explored the ide- ological dimensions of the novel, Susan Danielson and Pirjo Ahokasfocus on the feminist dimensions of the novel and how they relate to itscentral theme of racial activism. Felipe Smith, meanwhile, draws con-nections between Walker’s writing as a “redemptive art” and Meridian’sstruggle of healing and spiritual rediscovery.

9 . In her pedagogical study of the novel, Donna Krolik Hollenberg does consider the significance of Lynne’s Jewishness within the context of the novel, debating whether she ref lects Walker’s own prejudices or attitudes, or if she represents a sympathetic portrait of a Jewishfemale activist. In addition, Suzanne W. Jones and Nancy Porterdiscuss Lynne in their analyses of Meridian but are most concerned nwith her role as Meridian’s friend and the tensions between these twocharacters.

10 . I use the term “nationalist movements” to refer to the collective actionof nonwhite groups during the 1960s that aimed to foster collectiveracial consciousness and encourage new, culturally inspired ways of con-ceptualizing and creating art. These include but are not limited to the Black Nationalist Movement, the American Indian Movement, and the Chicano/a Movement.

11. William Aal relates the reversal of “the equation of desire” (i.e., the post-1960s’ “desirability” of otherness and negative connotation of whiteness) to a kind of self-hating whiteness; this sentiment encour-aged whites to forge bonds with those still connected to a community (304).

12 . In her 1999 book, How Jews Became White Folks and What That Says About Race in America, Karen Brodkin illustrates how the role of theJewish wife changed during the 1950s due to the fragmentation of community during “white flight” to suburbia, the embrace of white middle-class values, the hiring of domestic help, and aspirations to ideasand images of “white womanhood” (9–18).

13. “What could they possibly think is in it for us to be white people? Wouldtit extend refuge or protection, provide moral directive? If it helped us get better jobs and higher salaries, would it offer spiritual community? Would it bring us family?” (32).

14. Grassian articulates this theme of “experimentation” in the novel, pos-iting that the intermarriage in the story stems more from ideological motives than from genuine love for one another (118).

3 The Shiksa

1 . Shiksas would feature prominently in other Roth novels, including Letting Go (1972), o The Professor of Desire (1977), e Zuckerman Unbound(1981), and The Counterlife (1986), among others. Other Jewish writersehave played on the Jew/shiksa theme, including Joseph Heller ( Good as Gold , 1979) and Saul Bellow (d Humboldt’s Gift, 1975). tt

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2 . Though I focus on Annie Hall in this chapter, Allen uses the shiksa lfigure in other films, including Manhattan (1979) and n Deconstructing Harry (1997). Other films featuring the Jew/shiksa theme include y The Heartbreak Kid (1972 and 2007), the d Meet the Parents films (2000,s2004, 2010), Keeping the Faith (2000), h Prime (2005), and e Knocked Up(2007).

3. A practice of mourning for seven days after a death. 4. Matthew Frye Jacobson relates the white ethnic population’s renewed

interest in their immigrant forbears to Hansen’s Law: “Ethnic traces and trappings that had been lost, forgotten, or forcibly cast off by priorgenerations in their rush to Americanize were now rediscovered and reembraced by a younger generation who had known nothing but ‘American’ culture” (Roots 3). s

5. Halter’s analysis in Shopping for Identity shows how the 1970s’ eth-ynic revival provided an escape from the dominant culture conformity propagated by postwar universalism, embodying “a cultural alternative to assimilation and a political alternative to individualism for both black and white ethnics” (4).

6. Alba connects the ethnic revival to Herbert Gans’s term “symbolic eth-nicity”; he argues, “The general outlines of symbolic ethnicity offer a far better fit to the emerging nature of ethnic identity—essentially in thedesire to retain a sense of being ethnic, but without any deep commit-ment to ethnic social ties or behaviors” (306).

7. Jacobson articulates the ways in which the ethnic revival “intersects the recent history of American conservatism,” noting that white ethnic voteshave helped elect Republican Presidents, that white ethnics have been“prominent among the personnel of the New Right coalition,” and how lEuropean immigrant success stories have been appropriated in rhetoric opposing social welfare programs (Roots 181–182). s

8. Halter attributes this phenomenon to the “evolution of modern con-sumer capitalism.” To the extent that individuals are mediated by con-sumer culture, Halter argues, the ethnic revival was a reciprocal process in which communities and consumer capitalism fed off one another (7).

9. Paul Spickard notes, “The 1960s and 1970s saw a marked rise in thenumber of rabbis who performed intermarriages. Those years also wit-nessed a revival of Jewish religiosity and a widespread concern about intermarriage” (190).

10. A 1972 New York Times column features Rabbi Louis Bernstein’s urgent scall for a National Commission on Jewish Survival. Claiming Jews were on a “Suicidal Course,” Bernstein claimed, “‘We must address a fervent plea to them to desist from paving the road to assimilation with theirapproval. Such a pursuit of religious liberalism is suicidal for the per-petuation of American Jewry’” (Fiske 25).

11. In a 1973 Washington Post column, Robert J. Donovan reports a vote totbar rabbis conducting mixed-marriage ceremonies from the NY Board of Rabbis.

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12. Jaher notes, “The Jewish male is an avatar of urbanized, middle-class, postindustrial America. Who more than the Jew symbolizes rational-ity, intelligence, adaptability, and aff luence? . . . The Jew also represents disaffection, creativity, sensitivity, and nonconformity, a carryover from his outsider image now glorified in the tumultuous 1960s and 1970s” (526).

13. While Portnoy provides a brief family history, Singer’s is implicit through glimpses of his extended family and his mother’s maiden name.

14. Often referred to as “Roth’s alter-ego,” Zuckerman is the narrator fea-tured in nine of Roth’s novels as well as in The Facts, his memoir. In some novels, Zuckerman is a main character or the protagonist; in oth-ers, he chooses a protagonist for the novel.

15. Derek Royal notes that “in the American Trilogy, what [Roth] has done is to write the individual subject into the fabric of history, and in doing so he illustrates that identity is not only a product of, but also ahostage to, the many social, political, and cultural forces that surround it” (186) In each of the three novels, Zuckerman’s “heroes” exchange their ethnic identities for alternate identities: American Pastoral’s Swede sheds his Jewish identity to become an American; I Married a Communist’s Ira sheds his Jewish identity to become a Communist; and The Human Stain’s Coleman Silk sheds his African-Americanidentity to become a Jew.

16. See Laura Tannenbaum, “Reading Roth’s Sixties.” 17. Brian McDonald argues, “Roth’s novel marks the extent of changes in

the American attitude towards idealism and nationalism since the endof World War II, raising important questions regarding what has beengained and what has been lost, and the implications for the individualand for American individualism when the seams of an American iden-tity, and the idea of a common America, seem to give way” (30).

18. In “Shattering the American Pastoral,” Kathleen MacArthur links the Swede’s story with the assassination of Kennedy, connecting this event with the deconstruction of the American Dream.

19. A revolutionary leftist organization that formed in 1969 and commit- ted a series of bombings during the early 1970s in protest of imperialist U.S. policies.

20. In Beyond the Melting Pot, Glazer and Moynihan espouse a “model ttminority” rhetoric in their comparisons of Jews and African Americans, suggesting the proportionately more dire circumstances of blacks in the1960s was partly their own failure to rise to the challenge. He acknowl-edges that “yes, it’d probably be different if black schools and housing were better,” yet continues, “I think it is pointless to ignore the fact that the concentration of problems in the Negro community is exceptional,sand that prejudice, low income, poor education explain only so much”(51–52).

21. In Whiteness of a Different Color, Matthew Frye Jacobson explains, “it rris not just that various white immigrant groups’ economic successes

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came at the expense of nonwhites, but that they owe their now stabi-lized and broadly recognized whiteness itself in part to these nonwhite fgroups” (9).

22. Diner reiterates this view of post-1967 Jewish youth. She explains that these younger Jews (as well as their non-Jewish peers) “rejected the liberal ethos as too slow, too celebratory of American values, and toocompromising with evil when it came to rectifying the problems of rac-ism, militarism, and poverty, among many other injustices” (381). Her observations shed more light on Merry’s resentment and the path she turns to: “[The younger generation] expressed disdain for the institu-tions then in existence and doubted the legitimacy of the leaders and cultural arbiters of the society. The women and men born after thewar . . . had been raised in the aff luence of the 1950s and its suburban culture. They rejected these” (381).

23. David Brauner explains, “For Jerry, the disaster that befalls Seymour andhis family . . . is retribution for Seymour’s attempt to escape from his eth-nic identity as a Jew and from the exigencies of American reality” (70).

24. Scholars like Papajohn and Keren McGinity have indicated how Jewishidentity shapes individual psychology even without religious observance.McGinity notes in Still Jewish: A History of Women and Intermarriage in America (2009) that however intermarriage impacted the identity of athe women in her study, “being Jewish was a persistent part of women’sideological makeup” (6). She continues: “[Being Jewish] influenced their self-perceptions, their view of their immediate social circles and the world at large, and their notion of how others saw them. Moreover, Jewish identity within intermarried women’s sense of self was an intricate mix-ture of religion, ethnicity, and race. Whereas religion could be acceptedor rejected, ethnicity and race were malleable but permanent” (6).

25. “Recent scholarship suggests that Jewish women who marry non-Jews raise Jewish children at higher rates than do intermarried Jewish men” (McGinity 8). McGinity stresses this point because of “the mini-mal attention to gender” within recent Jewish-American studies of intermarriage.

4 The WASP

1. I have chosen The Godfather and r My Big Fat Greek Wedding largely gdue to the popularity and positive reception they both enjoyed ( The Godfather won an Academy Award for Best Picture; r My Big Fat Greek Wedding grossed $241.4 million in North America alone). Several gGreek-American works have gained popular acclaim (including Elia Kazan’s 1969 best-selling novel The Arrangement, George Pelacanos’stt1996 novel The Big Blowdown and 2000 novel n Shame the Devil, andJeffrey Eugenides’s 2002 novel Middlesex), yet rarely do these works address the issue of intermarriage. I am interested in looking at Umbertina because of its centrality to ethnic women’s literature within a

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the academy in recent years and its unusual history of reception. For other contemporary examples of white ethnic intermarriage narra-tives, see films Only the Lonely (1991) and y Big Night (1996), and novels tThe Fortunate Pilgrim (1965), m Paper Fish (1980) by Tina Derosa, h The Company of Women (1981) by Mary Gordon, and n Scarlett (1991) by tAlexandra Ripley.

2. Herbert Gans distinguishes between his term “symbolic ethnicity” andMary C. Waters’ term “ethnic options”: “Symbolic ethnicity proposes that ethnicity can survive without significant social or cultural partici-pation; the notion of ethnic options argues that the later descendantsof immigrants have some choice in the ethnicity with which they iden-tify” (Gans, “Reflections” 123). A third useful theory is what Werner Sollors calls “ethnicization,” in which white ethnics undergo a process of excavation to establish signifiers of ethnic difference (Beyond Ethnicity245).

3. Anthony Tamburri emphasizes this juxtaposition of ethnic and gen- der issues in Umbertina, observing that “as the theme of ethnic iden-tity develops throughout the novel, there also emerges concurrently the theme of gender identity as each woman must contend with amale-oriented social structure in her struggle for personal fulfillment” (355).

4. Matthew Frye Jacobson notes, “The ancestral impulse in second-wave feminism shared in the same antimodernism found in nonfeminist eth-nic revivalism, but to this it added resentment at having been writtenout of history and a quest to recover useful heroines for the renewed feminist struggle” (Roots 272). s

5. In the film Godfather II, Francis Ford Coppola reimagines the marriageIIbetween Kay and Michael Corleone as a resentment narrative. While the novel concludes with Kay’s absorption into the Italian family and religion,the Godfather film paves the way for Kay’s rebellion in r Godfather II. II

6. Thomas J. Ferraro takes a similar approach to the divergence of Michaelfrom his father’s traditional values by interpreting the story as a state-ment about capitalist enterprise. He explains, “In the original narra-tive, as Don Vito’s business goes, so goes his family: their fates are intertwined. But in Godfather II Michael promotes his criminal enter-Iprise at the expense of his immediate family, group solidarity, and the Italian-American heritage” (196).

7. Tamburri argues, “Barolini presents Tina’s abortion not at all as a moralissue, but rather as a political statement concerning the social structureof male vis-á-vis female—namely, the power and control the former may exert over the latter” (365).

8. Carmen Scarpati, in her analysis of Tina’s “struggle with identity,” sug-gests that marrying Jason may be a tempting solution to Tina’s restless-ness because of his “stability” and “Anglo-Saxon background” (362). Tina has not yet determined her place, but Jason, Scarpati explains, “wasalways aware that ‘home’ was in the New England house that belonged

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to the Jowers family since the 1670s” (361). Scarpati suggests Tina hesi-tates to commit to Jason not because he will dominate her, but because Jason already understands himself, while Tina does not.

5 The Colonist and the Scout

1. According to Michael Tratner, Ralphe Hamor published a pamphlet about the encounter around this time (130).

2. In many versions of the narrative, Pocahontas rescues Smith a second time by warning him of her people’s intentions to poison him and his men. Linwood and Custalow refute this allegation in their version, observing that when Smith forced the Powhatan warriors to taste the food they hadsupposedly poisoned, they did not die or even grow ill (30).

3. According to Custalow and Daniel, Kocoum was Pocahontas’s husband; she had a son with him (47).

4. Edgerton and Jackson cite Mall Vincent’s “Disney vs. History . . . Again,” from the Virginia-Pilot and Ledger-Star 20 June 1995. r

5. Custalow and Daniel cite Smith’s “A True Relation” in Jamestown Narratives: Eyewitness Accounts of the Virginia Colony, the First Decade: 1607–1617, ed. Edward Wright Haile (Champlain, VA: RoundHouse,772001), 161.

6. The writings of Potts and Phettiplace are collected in William Symonds’ The Proceedings of the English Colonie in Virginia since their first begin-ning from England in the yeare of our Lord 1606, till this present 1612,with all their accidents that befell them in their Journeys and Discoveries(1612).

7. The meeting between Smith and Pocahontas is narrated in Smith’sGenerall Historie as a reprimand for his broken promises and the decep-etion that led her and others to believe him dead (Kupperman 72).

8. The interpretation of the Ojibwe word for “two-spirit” is oversimplified by Westerners as meaning “homosexual”—more literally, it refers to a person with both a male and a female spirit within him/her, and can refer to a range of gender-ambiguous identities.

9. “I’ve met a lot of people like him—‘lost birds’—Indians adopted out by non-Indian families. . . . The Indian Child Welfare Act in the States in 1974 prevented such adoptions. The social problems and dysfunc-tions of these Indians adopted out are tremendous. Their suicide ratesare off the chart, their drug and alcohol abuse rates are off the chart” (Highway 28).

10. “The Indian scouts were essential, not merely to help the army findIndians but to help the army find its own way as well. . . . In any pursuit situation the army would have been helpless without their Indian—or,often, half-breed—scouts” (McMurtry 61).

11. In his discussion of the schizophrenic character John Smith in Indian Killer, Stuart Christie links Smith’s mental illness and eventual suicide rr

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to his mixed-blood, concluding that “Alexie’s novel solidif ies racialpurity as the guarantor of authentic American Indian experience” (2). He goes on to clarify later in his discussion that “ Indian Killerassociates mixed-blood identity and hybridity with alienation andbetrayal” (14).

12. Thornton cites Gary D. Sandefur and Trudy McKinnell’s “Intermarriagebetween American Indians and White Americans: Patterns andImplications” (1985) and the U.S. Congress Office of Technology Assessment (1986).

13. Alexie alludes to Crazy Horse’s light coloring; however, he allegedly had an Oglala Sioux father and Brulé mother, so he is most likely not a “half-breed.” It is possible that he had a white grandparent.

14. Louis Owens has stated that Alexie’s writing “too often simply rein-forces all of the stereotypes desired by white readers: his bleakly absurd and aimless Indians are imploding in a passion of self-destructiveness and self-loathing; there is no family or community center towardwhich his characters . . . might turn for coherence; and in the processof self-destruction the Indians provide Euramerican readers with plea-surable moments of dark humor or the titillation of bloodthirsty sav-agery” (79).

6 The Amerikan

1. I am not using David Roediger’s definition of the “new immigrant” (see Introduction, n. 4). Instead, I use this term to refer to post-World War II immigrants, including war brides, Displaced Persons, migrants from Puerto Rico, migrant workers from Mexico during and immediately after World War II, and those who have immigrated since the 1965 Hart–Cellar Act.

2. Examples of split narratives include the Julia Alvarez and Amy Tan novels I discuss as well as Junot Diaz’s The Brief and Wondrous Life of Oscar Wao (2007), Haitian author Edwidge Danticat’s o Breath, Eyes, Memory (1994), and Cuban writer Cristina García’s y Dreaming in Cuban(1993).

3. Gish Jen’s Typical American (1991) exemplifies this departure from ear-nlier immigrant literature. Much of the novel exemplifies a familiar, “ragsto riches” immigrant success story, yet the narrative takes a tragic turn.

4. Nicolás Kanellos explains the distinction between “Latino” and“Hispanic”: “While ‘Latino’ is often used interchangeably with ‘Hispanic’, the nineteenth-century concept of ‘Latin America’ from which ‘Latino’ derives, broadly referred to the peoples emerging fromSpain, Portugal, and France’s colonies, whereas ‘ Hispanoamérica’areferred solely to the Spanish-speaking peoples formerly residing in theSpanish colonies” (16). For the sake of this chapter I use “Chicano/a” to refer to citizens of Mexican descent and “Latino/a American” to refer

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to immigrants/migrants from other Spanish-speaking nations in theCaribbean, Central America, and South America.

5. Posted on Moraga’s website www.cherriemoraga.com; later published in A Xicana Codex of Changing Consciousness: Writings 2000–2009.

6. “Dominicans were made to believe that the United States was willing to open its borders for them after sending 14,000 marines to their country in 1965 to guarantee a government friendly to U.S. interests after 30years of Trujillato ” (62).

7. In her discussion of the novel’s autobiographical elements, GracielaObert explains that Alvarez left the D.R. at ten years of age because of her father’s assocation with a group planning to depose the Trujillodictator (282).

8. Judit Moschkovich critiques this tendency to justify Amerikan sexism as “progressive” because it is less oppressive than the sexist ideology of one’s native culture: “1) It is absurd to compare sexist oppression. Oppression is oppression in whatever form or intensity. 2) Sexist and heterosexist oppression is more or less visible depending on how com-municative people in a culture are. That Anglo culture is more Puritanand less visibly expressive does not mean it is less sexist. 3) Most of Latin America is a land economically colonized by the US, and as such can’t be compared with a colonizing culture (US)” (86).

9. Asian American Studies has become an increasingly prominent field over recent decades: the Association of Asian American Studies was first founded in 1979, and a large portion of acclaimed Asian-American liter-ature has only been published over the past twenty years, including sev-eral anthologies– The Big Aiiieeeee!: An Anthology of Chinese American and Japanese American Literature (1991), edited by Jeffery Paul Chan; eCharlie Chan Is Dead: An Anthology of Contemporary Asian-American Fiction (1993), edited by Jessica Tarahata Hagedorn; and n Our Feet Walk the Sky: Women of the South Asian Diaspora (1993) and a Asian American Literature: An Anthology (1999), both edited by Shirley Geok-Lin yLim.

10. In her contribution to the 1981 anthology This Bridge Called My Back , Yamada explains how Asian-American women contend with a “double invisibility.” They struggle against an expectation that, as women of Asian descent, they be passive and eager to please, and even when they overcome this stereotype, they still retain a degree of passivity by “qui-etly fitting into the man’s world of work” (36).

11. Chang-Rae Lee explores the cultural contrast between Korean-Americanand white American in Native Speaker (1995), in which the Korean-rAmerican narrator deals with the loss of his son in a repressed way in comparison to his estranged wife. Other authors who explore theunion of a more passive Asian or Asian-American partner with a moreassertive white partner include writer Linda Watanabe McFerrin (of partial Japanese descent) in Namako: Sea Cucumber (1998), Vietnamese rauthor Linh Dinh in his collection Fake House (2000), Chinese writer e

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David Wong Louie in The Barbarians Are Coming (2000), and Fay AnngLee in the Chinese romantic comedy Falling for Grace (2006).e

7 Conclusion: The Visible White

1. I refer to a period of scholarship exploring whiteness as a social construct of dominance and/or a Western mainstream culture. Authors includingNoel Ignatiev, John Garvey, Matthew Frye Jacobson, Karen Brodkin, Richard Dyer, and David Roediger, among others, have written some of the foundational work on whiteness studies, linking it clearly with otherareas of scholarship (ethnic studies, cultural studies, postcolonial stud-ies, etc.).

2. In a 1997 U.C. Berkeley conference on “The Making and Unmaking of Whiteness,” a group of scholars explored definitions of whiteness in a man-ner that establishes it as a distinct identity. In the introduction, the editors (Rasmussen, Klinenberg, Nexica, and Wray) delineate several associations with whiteness, including “Whiteness is invisible and unmarked” (10).

3. Examples posted on the blog: “Picking Their Own Fruit,” “Black Music That Black People Don’t Listen to Anymore,” “Facebook,” “Girls with Bangs,” “Having Gay Friends,” “Graduate School,” “Study Abroad.”

4. John Garvey and Noel Ignatiev have called for an “abolition of white-ness” in their article “The New Abolitionism,” and many other “white-ness studies” scholars have followed suit.

5. In the April 2007 issue of History Today, Jules Hudson and Nick Barratt explain, “The digital age has revolutionized our ability to gain accessto personal data that has traditionally been locked away. . . . The internet contains a huge amount of information about the past in the form of digitized images and associated name databases, most of which have appeared in the last five years.”

6. Though these examples are all black–white intermarriage stories, there are examples of excavation narratives among other ethnicities: for exam-ple, Umbertina , a The Godfather, and Alexandra Ripley’s rr Scarlett (1991). t

7. Authors Alex Haley, Alice Walker, Claude Brown, Richard Wright, Malcolm X, W.E.B. DuBois, James Weldon Johnson, and other con-tributors to the African-American literary canon have incorporated at least one, sometimes all three, of these tropes into their literature.

8. Malcolm X, for example, depicts Jews as opportunists who exploit blacksby offering credit on furniture and charging three or four times thefurniture’s worth (196).

9. Fanny Hurst, author of Imitation of Life (1933), and Al Jolson, known efor his minstrel performances in film, are two artists frequently faultedfor building their success on their racist portrayals of blacks.

10. In Slippery Characters: Ethnic Impersonators and American Identities(2000), Laura Browder references this memoir as one of several “tes-taments to and analyses of the consequences of choosing—or being

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assigned—a racial identity other than the one designated at birth”(271).

11. Browder asserts how this narrative “present[s] not a successful perfor-mance of authentic racial or ethnic identity, but a deconstruction of racial categories” (271).

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156–162, 167–169,231–232 n. 11, 13, 14

Flight, 142, 145, 156, 158–162, tt168–169

Indian Killer, 141–142, 145,rr157–161, 168, 231–232 n. 112

Reservation Blues, 141, 144, 157–158, 160, 168

Allen, Woody, 11, 75–76, 80–82,84, 87–90, 103, 105–106,227 n. 2

Annie Hall, 11, 76, 80–82, 84,87–90, 100, 103, 105–106, 227 n. 27

Alvarez, Julia, 12, 178–186, 188,194–195, 217, 232 n. 2,233 n. 7

How the Garcia Girls Lost Their Accents, 12, 178–186, 188,195, 216–217

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Amerika/n, 12, 171–203, 233 n. 8Amnesiac narrative, 5, 7, 24, 35,

41–42, 203, 207Anagnostou, Yiorgos, 112, 118,

120Annie Hall (see also Woody Allen), o

11, 76, 80–82, 84, 87–90, 100, 103, 105–106, 227 n. 27

Anti-Semitism, 26, 79, 81, 86–88Anzaldúa, Gloria, 12, 187–188

Borderlands/La Frontera, 187This Bridge Called My Back, 176,

233 n. 10Assimilation, 1, 3, 5, 7, 9–11, 17,

19, 30, 42, 48–50, 55, 57, 59, 75, 77–83, 93–97, 100, 106,111–113, 118, 120–121, 127,129–130, 134, 144–145, 155, 160, 163–165, 167, 169–170,186, 217, 220, 227 n. 5

The Assistant (Malamud), 9–10, 18,24–35, 42

Autobiography of an Ex-Coloured Man (Johnson), 6

Baldwin, James, 40–41, 225 n. 14Baraka, Amiri (see also LeRoio

Jones), 46, 53The Barbarians Are Coming: A

Novel (Louie), 177, 234 n. 11Barolini, Helen, 11, 109–111, 115,

120–121, 126–139, 230 n. 7The Dream Book, 115, 129Umbertina, 11, 109–111, 114–116,

121, 126–139, 208, 217,229–231 n. 1, 3, 7, 8

Beat Movement, 58–63Black Nationalism (see also minority o

nationalist movements), 10,41–42, 47–48, 51–53, 56–57,63, 65–66, 68, 112, 226 n. 10

Black No More (Schuyler), 1, 205Boas, Franz, 9, 223 n. 6Bona, Mary Jo, 126, 134, 137–138

Inde x

I n de x248

Borderlands/La Frontera (Anzaldúa), 187

Brando, Marlon, 20–21The Brief and Wondrous Life of

Oscar Wao (Diaz), 232 n. 2Brodkin, Karen, 17, 25, 82, 93,

226 n. 12, 234 n. 1Browder, Laura, 234 n. 10, 235 n. 11Buttons, Red, 20–21

Cahan, Abraham, 1, 25, 202The Rise of David Levinsky,

1, 202Caucasia (Senna), 11, 47, 65–73,

205, 223 n. 7Ceremony (Silko), 142–143,

167–168Chappelle, David, 206Christie, Stuart, 167, 231–232 n. 112Circumcision, 33–35Civil Rights, 1, 4, 10, 17, 19, 24,

35–37, 39, 42, 47–49, 51–53,57–59, 65, 112–113, 174, 203, 214

Act, 10Movement, 1, 4, 10, 17, 19, 36,

39, 42, 48, 51–53, 57–59, 65,112, 203, 214

Civil War, 5–6, 41, 173Clueless, 171Code-switching narrative, 12–13,

207, 216–220The Color of Water: A Black Man’s

Tribute to His White Mother(McBride), 209, 214–216,223 n. 7

The Combahee River Collective Statement, 48

Communism, 16–17, 26, 46,195–196, 198

Constantine, Michael, 116–117Conversion, 28–29, 33–35, 86, 101,

105–106, 118–119, 142to Christianity, 142, 144, 146,

151–152, 156to Greek Orthodoxy, 118–119

to Judaism, 28–29, 33–35, 86, 101, 105–106

Coppola, Francis Ford, 121, 124–125, 230 n. 5

The Godfather (film), 124–125, 230 n. 5

The Godfather: Part II, 121,II124–125, 230 n. 5, 6

Custalow, Linwood “Little Bear,”12, 142, 148–151, 153–155,220, 231 n. 2, 3, 5

The True Story of Pocahontas, 12,142, 148–151, 153–155, 220,231 n. 2, 3, 5

Daniel “Silver Star,” Angela, 12,142, 148–151, 153–155,220, 231 n. 2, 3, 5

The True Story of Pocahontas, 12,142, 148–151, 153–155, 220,231 n. 2, 3, 5

Delilah, 43, 46, 225 n. 1, 6Diaz, Junot, 178–179, 184,

232 n. 2The Brief and Wondrous Life of

Oscar Wao, 232 n. 2“How to Date a Brown Girl

(black girl, white girl, orhalfie),” 178–179

Diner, Hasia R., 18, 27, 223 n. 1, 224 n. 6, 7, 229 n. 229

Dinerstein, Joel, 224 n. 3Dinh, Linh, 171, 233 n. 11Displaced person/s, 10, 17, 19, 190,

232 n. 1The Dream Book (Barolini),

115, 129Dreams from My Father (Obama),

209–215Du Bois, W.E.B., 234 n. 7

Edgerton, Gary, 148, 231 n. 4Ellis Island, 79, 136Ellison, Ralph, 46, 225 n. 5Erdrich, Louise, 12, 141, 143–144,

156–158, 162–170

I n de x 249

Love Medicine, 12, 141, 143, 156,162–167, 169–170

Tracks, 143–144, 156, 169–170“The Ethics of Living Jim Crow”

(Wright), 45Ethnic Revival, 1, 10–11, 26, 57,

78–80, 113, 138, 173,227 n. 5, 6, 7, 8, 230 n. 40

Excavation narrative, 12–13, 139,207–216, 234 n. 6

Falling for Grace, 12, 174, 216–217,234 n. 114

Flight (Alexie), 142, 145, 156, 158–162, 168–169

Fools Rush In, 179

Gardaphé, Fred, 120, 123Genealogy, 79, 208–209Gentry, Marshall Bruce, 97Giunta, Edvige, 111Glazer, Nathan, 93, 223 n. 20Glenn, Roy, 36The Godfather (film; see also Franciso

Ford Coppola), 124–125, 230 n. 5

The Godfather: Part II (see alsoFrancis Ford Coppola), 121,124–125, 230 n. 5, 6

Gone with the Wind (Mitchell), 1, 5–6, 225 n. 145

Gordon, Andrew M., 37, 40,224–225 n. 12, 145

Goudsouzian, Aram, 41, 224 n. 11Graff, Laurie, 11, 77, 100–106

The Shiksa Syndrome, 11, 77, 100–106

Graham, Lawrence Otis, 219Grassian, Daniel, 65, 68, 70–72,

226 n. 14Grebstein, Sheldon Norman, 10, 26Guess Who, 219Guess Who’s Coming to Dinner (see

also Stanley Kramer), 2, 10, o35–42

Gulotta, Kenneth, 110–111, 123

Haley, Alex, 209, 234 n. 7Half-breed, 12, 156–160, 162,

167–170, 231 n. 10, 232 n. 13Halter, Marilyn, 79, 227 n. 5, 8Hamri, Sanaa, 218

Something New, 218–219Hansen, Marcus Lee, 113–114,

227 n. 47Hendrickson, Roberta M., 53,

226 n. 8Hepburn, Katharine, 36–37Herrera, John Felipe, 176Himes, Chester, 46, 225 n. 2Hodes, Martha, 43–44Hollinger, David A., 15–17, 65,

215, 235 n. 12Holocaust, 4, 16–18, 25–27, 69, 77,

79–80, 224 n. 6Hornblower, Margot, 208Houghton, Katharine, 36–37How the Garcia Girls Lost Their

Accents (Alvarez), 12, 178–186,188, 195, 216–217

How I Became Hettie Jones (Jones),11, 47, 58–65, 73, 223 n. 7

The Human Stain (Roth), 90, 228 n. 158

Hungry Hearts (Yezierska), 9Hwang, David Henry, 20, 171

I Love Lucy, 2I Married a Communist (Roth), 90,

228 n. 15Ibrahim, Habiba, 66, 68Ignatiev, Noel, 206, 234 n. 1, 4Immigration Reform Bill, 10In Search of Our Mothers’ Gardens

(Walker), 55Indian Killer (Alexie), 141–142, 145,

157–161, 168, 231–232 n. 112Invigoration narrative, 5–7, 207

Jackson, Kathy Merlock, 148, 231 n. 4Jacobson, Matthew Frye, 17, 79, 96,

98–99, 223 n. 6,3 227 n. 4, 7,228 n. 21, 230 n. 4, 234 n. 1

I n de x250

Jacoby, Tamar, 186, 188Jaher, Frederic Cople, 76, 84–85,

103, 228 n. 12Jewish Movement, 10, 26Johnson, Gary, 91Johnson, James Weldon, 6, 43, 46,

225 n. 6, 234 n. 7Autobiography of an Ex-Coloured

Man, 6“The White Witch,” 43, 46,

225 n. 6Johnson-Reed Act, 19Jones, Hettie, 11, 47, 53, 58–65,

68, 223 n. 7How I Became Hettie Jones, 11,

47, 58–65, 73, 223 n. 7Jones, LeRoi (see also Amiri o

Baraka), 47, 58–64, 225 n. 3Jones, Lisa, 43, 47, 60–62, 64–65The Joy Luck Club (Tan), 12,

188–195, 201–202

Kocoum, 147, 151, 231 n. 3Kramer, Stanley, 18, 35–36, 38,

41–42Guess Who’s Coming to Dinner, 2, rr

10, 35–42Kupperman, Karen Ordahl,

146–147, 231 n. 7

Larsen, Nella, 6–7Passing, 6–7

Lee, Chang-Rae, 233 n. 11Lee, Fay Ann, 12, 216, 234 n. 11Levine, Andrea, 36–37, 39,

225 n. 12Lili: A Novel of Tiananmen (Wang),

12, 178, 188–189, 195–202,207

Logan, Joshua, 15, 18, 21–24, 42Sayonara, 10, 15, 18–24, 42

Lopez, Jennifer, 179Lorde, Audre, 48Louie, David Wong, 177, 234 n. 11

The Barbarians Are Coming: A Novel, 177, 234 n. 11

Love Medicine (Erdrich), 12, 141, 143, 156, 162–167, 169–170

Loving v. Virginia, 4, 10, 35Lynching, 43–44, 46, 54, 219

Madame Butterfly, 12, 19–20, 22, 197

Malamud, Bernard, 9–10, 18,24–35, 42

The Assistant, 9–10, 18, 24–35, 42ttMalcolm X, 46, 225 n. 4, 234 n. 7, 8Malick, Terrence, 12, 146–148, 151

The New World, 12, 146–147,150–151

Mammy, 38, 41, 225 n. 14Mardorossian, Carine M., 180McBride, James, 209, 214–216,

223 n. 7The Color of Water, 209, rr

214–216, 223 n. 7McCarran-Walker Act, 19–20McGinity, Keren, 4, 229 n. 24, 25McMurtry, Larry, 158, 160, 231 n. 10Meade, Marion, 89–90Melnick, Jeffrey, 175Melting pot, 4–5, 94, 119The Melting-Pot (play, Zangwill),

5, 9Meridian (Walker), 11, 47–58, 65,

72–73, 223 n. 7, 226 n. 8, 9Michener, James, 21Minority nationalist movements

(see black nationalism), 1, 4, 11, 48, 52, 57, 78–79, 113,138, 173, 177, 207, 226 n. 10

Miscegenation, 3, 6, 10, 21, 35, 38,70, 73, 81, 116, 142, 145, 188, 224 n. 24

Mitchell, Margaret, 5–6Gone With the Wind, 1, 5–6,

225 n. 145Mixed-blood, 142–143, 145, 156,

158, 160, 162–163, 167–168, 170, 232 n. 11

Modern Family (television program), 171, 223 n. 6, 224 n. 2

I n de x 251

Montagu, Ashley, 9Montalban, Ricardo, 20, 23Moraga, Cherríe L., 12, 176, 188,

194, 233 n. 5Morrison, Toni, 208

Song of Solomon, 208Moschkovich, Judit, 176–177, 233 n. 8Moynihan, Daniel Patrick, 93, 228

n. 20Murphy, Eddie, 206My Big Fat Greek Wedding (see also

NiaVardalos), 2–3, 11, 109–111,114, 116–120, 136, 139, 189,229 n. 1

Namako: Sea Cucumber (Watanabe McFerrin), 216, 233 n. 11

Native Son (Wright), 45–46The New World (see also Terrence o

Malick), 12, 146–147, 150–151Novak, Michael, 113, 223 n. 5, 3

224 n. 5

Obama, Barack, 4, 174, 176, 209–215

Dreams from My Father, 209–215rrObert, Graciela, 186, 233 n. 7Omi, Michael, 8On Lynchings: Southern Horrors, A

Red Record, Mob Rule in New Orleans (Wells-Barnett), 44

Owens, Louis, 141, 144, 163, 167, 232 n. 14

Owens, Patricia, 22

Papajohn, John C., 78, 104, 229 n. 24“The Paris Gown” (Trambley), 177Passing (Larsen), 6–7Pluralism, 6–7, 17, 79, 94, 223 n. 1Pocahontas (figure; see also The

New World; Pocahontas(Disney film); The True Story of Pocahontas), 12, 142–156, 170,s220, 231 n. 2, 3, 7

Pocahontas (Disney film), 12, 144, 147–148, 150–151, 231 n. 4

Poitier, Sidney, 36–37, 41,224–225 n. 12, 13

Portnoy’s Complaint (Roth), 1–3, 11, 75–76, 80–90, 95, 100–101, 104, 106, 216, 228 n. 13

Pratt, Mary Louise, 167Price, David A., 147–150, 153Puzo, Mario, 11, 110, 114–115,

120–127The Godfather (novel), 11,

114–115, 120–126, 136, 139, 229 n. 1, 234 n. 6

Rape, 32–33, 43, 45, 47, 52, 54–55, 99, 142–143, 153, 196

Reconstruction, 6, 39, 44Repatriation narrative, 12–13, 207,

216–217Resentment narrative, 5, 7, 48, 58,

73, 90, 106, 207Reservation Blues (Alexie), 141,

144, 157–158, 160, 168Richards, Beah, 36The Rise of David Levinsky (Cahan),

1, 202Rodríguez, Maria Cristina, 180Roediger, David, 223 n. 4, 232 n. 1,

234 n. 1Rolfe, John, 142–146, 151–155, 170Roosevelt, Franklin Delano, 16Roosevelt, Theodore, 173Rotella, Carlo, 19, 49Roth, Philip, 1, 9, 11, 25, 28,

75–77, 80–101, 103, 105–106,224 n. 10, 226 n. 1, 228 n. 13,14, 15, 16, 17, 18

American Pastoral, 9, 11, 76,90–100, 228 n. 15, 16, 17, 18

The Human Stain, 90, 228 n. 158I Married a Communist, 90, tt

228 n. 15Portnoy’s Complaint, 1–3, 11, tt

75–76, 80–90, 95, 100–101, 104, 106, 216, 228 n. 13

Royal, Derek, 91, 228 n. 15Rubin, Rachel, 175

I n de x252

Rubin-Dorsky, Jeffrey, 94Ruppert, James, 167

Salome of the Tenements (Yezierska), 7

Sayonara (film; a see also JoshuaoLogan), 10, 15, 18–24, 42

Schultz, Lydia A., 165–166Schuyler, George, 205

Black No More, 1, 205Scout, 12, 141, 156–157, 160–161,

231 n. 10Senna, Danzy, 11, 47, 65–73, 110,

223 n. 7Caucasia, 11, 47, 65–73, 205,

223 n. 7Shagetz/sheygets, 75, 77Shiksa, 1, 11, 50, 57, 75–107,

109–110, 226 n. 1, 227 n. 2The Shiksa Syndrome (Graff), 11, 77,

100–106Silko, Leslie Marmon, 142–144,

157–158, 167–168Ceremony, 142–143, 167–168

Siskel, Gene, 81Slavery, 44, 225 n. 4Smith, Felipe, 45–46, 56–57,

225 n. 1, 6, 226 n. 8Smith, John (colonist), 143–151,

153–154, 220, 231 n. 2, 5, 7Sobran, Jr., M.J., 81Sollors, Werner, 4, 40, 223 n. 3,

230 n. 2Something New (see also

SanaaHamri), 218–219Song of Solomon (Morrison), 208Southern Nonviolent Coordinating

Committee (SNCC), 10, 48, 50, 56

Spanglish, 174–175, 179Speck, Gordon, 156, 160Spickard, Paul, 19–20, 227 n. 9St. Francis, 30, 33–34

Taka, Miiko, 21Takaki, Ronald, 224 n. 3

Tamburri, Anthony Julian, 129, 230 n. 3, 70

Tan, Amy, 12, 188–195, 201–202, 232 n. 2

The Joy Luck Club (novel), 12,188–195, 201–202

This Bridge Called My Back (Anzaldúa), 176, 233 n. 10

Thompson, Deborah, 53, 63–64Thornton, Russell, 161, 232 n. 12Tracks (Erdrich), 143–144, 156,

169–170Tracy, Spencer, 36–37Tragic other narrative, 5–7, 20–21,

116, 206Traitor narrative, 5–6, 207Trambley, Estela Portillo, 177

“The Paris Gown,” 177The True Story of Pocahontas: The

Other Side of History (Custalow and Daniel), 12, 142, 148–151, 153–155, 220, 231 n. 2, 3, 5

Umbertina (Barolini), 11, 109–111,114–116, 121, 126–139, 208, 217, 229–231 n. 1, 3, 7, 8

Umeki, Myoshi, 20Universalism, 4, 10, 15–42, 49, 79,

173, 214, 227 n. 5

Vardalos, Nia, 109–110, 114, 116–120My Big Fat Greek Wedding, 2–3,

11, 109–111, 114, 116–120, 136, 139, 189, 229 n. 1

Vera, Hernán, 37, 40, 224–225 n. 12, 145

Vietnam War, 91–92, 189Vizenor, Gerald, 142–143, 158,

167–168Voting Rights Act, 10

Waiting to Exhale (film), 219Walker, Alice, 11, 47–58, 223 n. 7, 3

226 n. 8, 9, 234 n. 7In Search of Our Mothers’

Gardens, 55

I n de x 253

Meridian, 11, 47–58, 65, 72–73,223 n. 7, 226 n. 8, 9

Wang, Annie, 12, 178, 188–189,195–202, 207

Lili: A Novel of Tiananmen, 12,178, 188–189, 195–202, 207

War brides, 10, 17–20, 24, 232 n. 12WASP, 3, 11, 39, 70–71, 76, 78, 81,

86, 99, 101, 109–139, 173, 205,216–217, 223 n. 5, 224 n. 5

Watanabe McFerrin, Linda, 216,233 n. 11

Namako: Sea Cucumber, 216, rr233 n. 11

Watten, Barrett, 58, 61Wedding, 3, 22, 24, 36–37, 42,

114, 117, 120, 128, 154, 171, 213

Wells-Barnett, Ida B., 43–45, 54,225 n. 1, 6

On Lynchings: Southern Horrors, A Red Record, Mob Rule in New Orleans, 44

White other, 3, 27, 29, 61–62, 66, 114–115, 178, 189, 207,220–221

White witch, 10, 43–73“The White Witch” (poem,

Johnson), 43, 46, 225 n. 6

Whiteness, 2–4, 7, 13, 17, 28, 39, 50, 52, 62, 64, 66, 68–72, 79, 81, 96, 105, 112–113, 158, 164–165, 184–185, 205–207, 215–216, 218–219, 224 n. 3,226 n. 11, 229 n. 21, 234 n. 1, 2, 3, 4

Winant, Howard, 8Women’s Movement, 10, 115

Second-Wave feminism, 177, 230 n. 4

Third-Wave feminism, 12, 17World War II, 2, 4, 7, 9–10, 12,

15–19, 21, 25–26, 42, 77, 91, 93, 104, 111, 142, 173, 175,224 n. 6, 228 n. 17, 232 n. 1

Wright, Richard, 45–46, 234“The Ethics of Living Jim

Crow,” 45Native Son, 45–46

Yamada, Mitsuye, 189, 233 n. 10Yezierska, Anzia, 1, 7, 9, 25, 31,

77, 174, 187Hungry Hearts, 9Salome of the Tenements, 7

Zangwill, Israel, 5, 9, 25, 174The Melting-Pot (Zangwill), 5, 9