This collection presents the first scholarly attempt to map the rapidly emerging field of mixed-race literature, defined as texts written by authors who represent multiple cultural and literary traditions. It also situates these literatures in relation to contemporary fields of literary inquiry.

Contributing to the emerging literature on mixed-race people in the United States and United Kingdom, this book draws on racial formation theory and the performativity (i.e., "doing") of race to explore the social construction of mixedness on both sides of the Atlantic Ocean.

"It's kind of an odd thing, really, because it's not like I'm one or the other, or like I fit here or there, but I kind of also fit everywhere. And nowhere. All at once. You know?" — Florence "My racial identity, I would have to say, is multiracial. I am of the future. I believe there is going to come a day when a very, very large majority of everybody in the world is going to be mixed with more than one race. It's going to be multiracial for everybody. Everybody and their mother!" — Jack Kristen A. Renn offers a new perspective on racial identity in the United States, that of mixed race college students making sense of the paradox of deconstructing racial categories while living on campuses sharply divided by race and ethnicity. Focusing on how peer culture shapes identity in public and private spaces, the book presents the findings of a qualitative research study involving fifty-six undergraduates from a variety of institutions. Renn uses an innovative ecology model to examine campus peer cultures and documents five patterns of multiracial identity that illustrate possibilities for integrating notions of identity construction (and deconstruction) with the highly salient nature of race in higher education. One of the most ambitious scholarly attempts to date to portray the diverse experiences and identities of mixed race college students, the book also discusses implications for higher education practice, policy, theory, and research.

A young biracial girl looks around her world for her color. She finally chooses her own, and creates a new word for herself—honeysmoke. Simone wants a color. She asks Mama, “Am I black or white?” “Boo,” Mama says, just like mamas do, “a color is just a word.” She asks Daddy, “Am I black or white?” “Well,” Daddy says, just like daddies do, “you’re a little bit of both.” For multiracial children, and all children everywhere, this picture book offers a universal message that empowers young people to create their own self-identity. Simone knows her color—she is honeysmoke. An Imprint Book "Honeysmoke is so beautiful and true that it made me burst into tears of gratitude for what [Monique Fields] has given to us all. Honeysmoke should be in every library and gathering place of young children." —Sena Jeter Naslund, author of Ahab's Wife, Four Spirits, and Abundance

In the first philosophical challenge to accepted racial classifications in the United States, Naomi Zack uses philosophical methods to criticize their logic. Tracing social and historical problems related to racial identity, she discusses why race is a matter of such importance in America and examines the treatment of mixed race in law, society, and literature. Zack argues that black and white designations are themselves racist because the concept of race does not have an adequate scientific foundation. The "one drop" rule, originally a rationalization for slavery, persists today even though there have never been "pure" races and most American blacks have "white" genes. Exploring the existential problems of mixed race identity, she points out how the bi-racial system in this country generates a special racial alienation for many Americans. Ironically suggesting that we include "gray" in our racial vocabulary, Zack concludes that any racial identity is an expression of bad faith. Author note: Naomi Zack is Assistant Professor in the Department of Philosophy at the State University of New York at Albany. She herself is of mixed race: Jewish, African American, and Native American.

Research continues to uncover early childhood as a crucial time when we set the stage for who we will become. In the last decade, we have also seen a sudden massive shift in America’s racial makeup with the majority of the current under-5 age population being children of color. Asian and multiracial are the fastest growing self-identified groups in the United States. More than 2 million people indicated being mixed race Asian on the 2010 Census. Yet, young multiracial Asian children are vastly underrepresented in the literature on racial identity. Why? And what are these children learning about themselves in an era that tries to be ahistorical, believes the race problem has been “solved,” and that mixed race people are proof of it? This book is drawn from extensive research and interviews with sixty-eight parents of multiracial children. It is the first to examine the complex task of supporting our youngest around being “two or more races” and Asian while living amongst “post-racial” ideologies.

The Souls of Mixed Folk examines representations of mixed race in literature and the arts that redefine new millennial aesthetics and politics. Focusing on black-white mixes, Elam analyzes expressive works—novels, drama, graphic narrative, late-night television, art installations—as artistic rejoinders to the perception that post-Civil Rights politics are bereft and post-Black art is apolitical. Reorienting attention to the cultural invention of mixed race from the social sciences to the humanities, Elam considers the creative work of Lezley Saar, Aaron McGruder, Nate Creekmore, Danzy Senna, Colson Whitehead, Emily Raboteau, Carl Hancock Rux, and Dave Chappelle. All these writers and artists address mixed race as both an aesthetic challenge and a social concern, and together, they gesture toward a poetics of social justice for the "mulatto millennium." The Souls of Mixed Folk seeks a middle way between competing hagiographic and apocalyptic impulses in mixed race scholarship, between those who proselytize mixed race as the great hallelujah to the "race problem" and those who can only hear the alarmist bells of civil rights destruction. Both approaches can obscure some of the more critically astute engagements with new millennial iterations of mixed race by the multi-generic cohort of contemporary writers, artists, and performers discussed in this book. The Souls of Mixed Folk offers case studies of their creative work in an effort to expand the contemporary idiom about mixed race in the so-called post-race moment, asking how might new millennial expressive forms suggest an aesthetics of mixed race? And how might such an aesthetics productively reimagine the relations between race, art, and social equity in the twenty-first century?