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Pauline Hopkins and Psychologies of Race

Published online by Cambridge University Press:  30 July 2009

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Over the last decade, scholars of American cultural studies have taken as one of its central tasks identification of the ways in which Anglo-American writing is bound up in the African American tradition against which it had historically tended to distinguish itself. This project has involved, on the one hand, deconstructing distinctions between Afro-American and Anglo-American literary traditions and, on the other, affirming the distinctiveness of an Afro-American literary tradition by reclaiming lesser-known African American literary texts, such as Pauline Hopkins's Of One Blood; Or, The Hidden Self. Indeed, the wealth of recent critical analyses of Pauline Hopkins's now almost canonical 1902 serial novel has engaged these two distinct lines of inquiry. By using the second half of her title as a way of understanding the first — that is, by assessing how William James's popular 1892 essay for Scribner's Monthly, entitled “The Hidden Self,” operates as an organizing principle for Hopkins's fictional account of bloodlines — scholars have charted a series of interconnections between Afro-American and Anglo-American traditions even as they have made a case for the value of Hopkins's sensation novel. Familiar with James's contention that there is a “hidden self” within the individual, Hopkins, in these accounts, appropriates James's term to express the social condition of the African American after Reconstruction. Just as James's student, W. E. B. DuBois, declares in an 1897 essay for the Atlantic Monthly that the African American experiences an inevitable “double-consciousness” proceeding from “two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body,” so too does Pauline Hopkins, in these accounts, use James's description of a “consciousness split into parts which coexist” as a way of expressing the psychosocial condition of late-19th-century African Americans.

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Research Article
Copyright
Copyright © Cambridge University Press 2004

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References

NOTES

1. See, for example, Gilroy, Paul, Against Race: Imagining Political Culture Beyond the Color Line (Cambridge: Harvard University Press, 2000)Google Scholar; Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1993)Google Scholar; Warren, Kenneth W., Black and White Strangers: Race and American Literary Realism (Chicago: University of Chicago Press, 1993)Google Scholar; Michaels, Walter Benn, Our America: Nativism, Modernism, and Pluralism (Durham: Duke University Press, 1995)Google Scholar; Morrison, Toni, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge: Harvard University Press, 1992)Google Scholar; Roediger, David, The Wages of Whiteness: Race and the Making of the American Working Class (London: Verso, 1991)Google Scholar; Sollors, Werner, Neither Black Nor White Yet Both: Thematic Explorations of Interracial Literature (New York: Oxford University Press, 1997)CrossRefGoogle Scholar; Sundquist, Eric, To Wake the Nations: Race in the Making of American Literature (Cambridge: Harvard University Press, 1993)Google Scholar; and Gubar, Susan, Racechanges: White Skin, Black Face in American Culture (New York: Oxford University Press, 1997)Google Scholar.

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