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Abjective Conflict Among Mixed Race Mother-Daughter Dyads in Modern and Contemporary U.S

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Abjective Conflict Among Mixed Race Mother-Daughter Dyads in Modern and Contemporary U.S ABJECTIVE CONFLICT AMONG MIXED RACE MOTHER-DAUGHTER DYADS IN MODERN AND CONTEMPORARY U.S. WOMEN’S PROSE Bethany L. Lam A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2018 Approved by: María DeGuzmán Laura Halperin Rebecka Rutledge-Fisher Ruth Salvaggio Daniel Anderson © 2018 Bethany L. Lam ALL RIGHTS RESERVED ii ABSTRACT Bethany L. Lam: Abjective Conflict Among Mixed Race Mother-Daughter Dyads in Modern and Contemporary U.S. Women’s Prose (Under the direction of María DeGuzmán) Many U.S. women’s narratives of mixed race mother-daughter conflict suggest race- based abjection as a primary factor. Mothers and daughters develop a horror—sometimes obvious, sometimes subtle—of their respective others’ racial identifications and try to reject them, but often prove unable to separate entirely, remaining instead in fraught relationships. This study examines race-based abjection between mothers and their differently raced daughters in multiple iterations. “Chapter 1: Secret Mother” begins in the Jim Crow era and tells the story of Norma Storch, an aspiring actress who had a daughter with a black comedian. Fearing the socioeconomic consequences of being a white woman known to have non-white offspring, Storch sent the girl to live with a black family. Storch remained part of her daughter’s life, but refused for nearly forty years to acknowledge their biological relationship publicly. “Chapter 2: Secret Daughter” flips the narrative and explains how that daughter, acclaimed journalist and documentarian June Cross, responded to her mother’s abjection with race-based abjection of her own. “Chapter 3: Secret Genealogy” turns to Louise Erdrich’s iconic Pauline “Sister Leopolda” Puyat character and shows how she simultaneously embodies both maternal and filial race-based abjection. Puyat constructs a racial identity that rejects both her mother and her iii daughter as Indian, but considers herself white. Finally, “Chapter 4: Secret Abjection” demonstrates how race-based abjection between mother and daughter evolved after Loving v. Virginia, the 1967 Supreme Court ruling that legalized interracial marriage. After Loving, mixed race mother-daughter dyads had little need to separate physically. Instead, in the cases of Elizabeth and Ruby in Joan Steinau Lester’s Mama’s Child, Sandy and Birdie in Danzy Senna’s Caucasia, and real-life author-activists Alice and Rebecca Walker, race-based abjection led mothers to objectify their daughters and vice versa. This project problematizes both long-standing and contemporary narratives that mixed race people and relationships inevitably lead to greater racial harmony. It rejects romanticization and deepens current conversations in Critical Mixed Race Studies, Women’s Studies, and Contemporary American Literature by highlighting the significant societal and psychological obstacles facing women who raise differently raced daughters, and those facing the daughters themselves, in U.S. society. iv To my mother v ACKNOWLEDGEMENTS The journey to this point in my life and education has been full of wise and wonderful people. First thanks go to God, because nothing short of divine aid has gotten me here. Second thanks go to my family, who laid the foundation for so much of my work. Thank you to my mother, Tamara Sue Rudolph Lam, for pouring your life into raising and educating your three mixed race daughters and your mixed race son. You and I don’t always see eye to eye—no mother-daughter pair does—but anyone who knows even a tenth of your sacrifices can never doubt your love for your children. You have always been willing to continue our dialogues, and you always give me space to speak. Every primary text I’ve read and every chapter I’ve written for this project has made me appreciate you more. I love you. Thank you to my father, Douglas Yee Lam, for a lifetime of presence and provision. I wish you could have stayed long enough to see me write “Dr.” in front of my name, but I feel your love for and pride in me, even from as far away as heaven. Thank you for that security. I love and miss you more than I can say. Thank you to my siblings: Kristi Lam, Jason Lam, and Melissa Love. Growing up with you was an awesome adventure, one that I am grateful for every day. Being adults together is pretty cool, too, and I look forward to many more years of fun. Thank you, too, to Jenn Heald Lam and Josh Love, for joining our family and making it complete. I love you all. vi Thank you to my grandparents: Cloyce Rudolph, Marcella Sellers Rudolph Sullivan, and Bob Sullivan; and Ton Lam and Kam Hang Woo Lam. From small-town and rural life in Iowa, Illinois, and Tennessee; to a war-ravaged village in southern China, war-torn Hong Kong, an anti-Asian U.S. immigration system, and finally Chicago’s Chinatown—I get my strength and grit from you. Thank you for your legacy. Thank you to my UNC-CH dissertation committee: María DeGuzmán, Laura Halperin, Rebecka Rutledge Fisher, Ruth Salvaggio, and Dan Anderson. Your knowledge, mentoring, and compassionate support over the years have meant the world to me. This dissertation and, more importantly, my scholarly career would never have happened without you. Thank you for investing so much of yourselves in me. Special thanks go to my dissertation director, María DeGuzmán. Your mentoring, time, and feedback have been invaluable in shaping and strengthening my work. You allowed me complete intellectual freedom in this project, yet every page bears your analytical influence. You challenged me throughout this process to think more broadly, deeply, sharply, and critically, and then to write with greater precision. I am both proud and grateful to have been your student. Thank you for your generosity, patience, and flexibility—and your speed reading. Thank you also to my faculty mentors James Barcus, Michele T. Berger, Glenn Blalock, Nancy Chinn, Gary Elliott, Sherry Organ, Richard Rankin Russell, Matthew Taylor, Todd Taylor, and John Williams. You all have played key roles in my development as a scholar and a teacher, from my first-year composition course with Mrs. Organ in 2002; to my first forays into graduate work in Critical Race Studies with Drs. Barcus and Chinn; to my teaching assistant days in Film Studies (Dr. Todd Taylor), Medical Humanities (Dr. Matt Taylor), and Women’s and Gender studies (Dr. Berger). vii Thank you to the many, many friends and mentors I have relied on throughout graduate school to keep me sane and to remind me that life is more than academia, and I am more than a scholar. Thank you especially to Adrienne Akins Warfield, Michael “Raúl” Brown, Lydia Cooper, Jameela Dallis, Cassondra Darling, María Durán, Elton Faulk, Becka Garonzik, Gale Greenlee, Bethany Hebbard, Helen Lee, Holly Locke, Christin Mulligan, Louis Sommo, Blake Smith, Donna Stanley, Jim Thomas, Scott Vermillion, and Margarette Yeager. You have spent countless hours listening to, comforting, challenging, and encouraging me. I am eternally grateful to and for each one of you. Thank you also to my UNC-CH and Baylor graduate student colleagues, whose work has long inspired me and whose generous hearts continue to amaze me. Thank you—again—to Adrienne, Lydia, Jameela, María, Becka, Gale, and Christin for reading my work, sharing your ideas, and sharpening mine. Thank you to my classmates for our many academically stimulating discussions. Thank you to my fellow instructors and teaching assistants for your wealth of pedagogical creativity and enthusiasm. Thank you to the University of North Carolina at Chapel Hill for supporting and facilitating my research. Thank you to the Department of English and Comparative Literature, and especially to the Richardson family, for granting me a semester to focus exclusively on my scholarship and on this project, via a Richardson Dissertation Fellowship. Thank you to Baylor University for generously preparing me for my future work at UNC. Thank you to the Society for the Study of the Multi-Ethnic Literature of the United States and to the Critical Mixed Race Studies Association for opening up spaces for mixed race scholarship like mine. viii Finally, thank you to the countless authors, artists, and activists who have shared your work and made mine possible. ix TABLE OF CONTENTS LIST OF DEFINITIONS .............................................................................................................. xv LIST OF TABLES ....................................................................................................................... xvi INTRODUCTION .......................................................................................................................... 1 Overview ..................................................................................................................................... 1 “Critical Mixed Race Studies” in the Academy .......................................................................... 5 Theorizing Race-Based Abjection among Mixed Race Mother-Daughter Dyads .................... 12 Methodology: Mixed Race Feminist Psychoanalysis ............................................................... 14 1. Lived experience as epistemological artifact ................................................................. 15 2. Intersectional framework...............................................................................................
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