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 pr aise for Beyond the Whiteness of Whiteness

“Lazarre cuts close to the bone in this penetrating ‘story of the education of an
American woman.’ ”— Mary Carroll, Booklist

“In the end there is the great gift of being taken into the life of American black
culture. On the way there, this mother and child — the most intimate relation-
ships from infancy — has no public or political recognition for years. A kind of
love story and useful as well to people in interracial lives and families.”
— Grace Paley

“[A] compelling story of one mother’s honest efforts to reach across the chasm
between black and white America to comfort and guide her sons as they navi-
gate their way to adulthood and self-sufficiency.”
— Gregory Howard Williams, Los Angeles Times Book Review

“Through the profoundly human caring of this book; its luminous beauty,
passionate authenticity, truth and power; its multi-lensed and sourced hard-
wrung wisdom — and yes, through the art with which it is written — we see,
feel, understand what we never have before, the ways of the Whiteness of
Whiteness; and we are challenged, enlarged, and enabled, as was Jane Lazarre,
to move Beyond. This revelation book, so capable of creating change-making
comprehension, is of crucial importance for our country’s self-knowledge and
vision.”— Tillie Olsen

“A novelist, essayist, and teacher, Lazarre presents her troubling but clear-eyed
vision of her life and times with incisiveness and grace.”
— John Gregory Brown, Chicago Tribune

“The inimitable eloquence of Lazarre’s Beyond the Whiteness of Whiteness defies

facile summation.”— Kwame Okoampahoofe Jr., New York Amsterdam News

“Jane Lazarre has written an extraordinary book. Beyond the Whiteness of White-
ness is a personal memoir, a lively tale of teaching and family life, humorous,
sad, and loving. Yet Beyond the Whiteness of Whiteness is also a profoundly
political book. Through maternal, autobiographical reflection, Jane Lazarre
confronts the white racism that has shaped American society and remains our
harshest tragedy and deepest challenge.”
— Sara Ruddick, author of Maternal Thinking: Toward a Politics of Peace
“A compassionate, compelling outpouring of anecdotal family stories and
confessionals . . . that fine-tune the reader’s awareness to racism in everyday
life. Lazarre’s voice is artful and measured, like a friend’s, and her prose is
thick with images. . . . Beyond the Whiteness of Whiteness provides substantial
food for thought for both white and black perspectives on the murky issue
of race in America.”— Publishers Weekly

“Powerful, moving, and beautifully written . . .”

— Richard L. Zweigenhaft, Greensboro News & Record

“This insightful Jewish mother opens our eyes to the pervasiveness of racism
in our culture — a reality that Jews and other whites can easily ignore.”
— Rabbi Rachel Cowan, author of Mixed Blessings: Marriage between
Christians and Jews

“[An] illuminating book . . . Beyond the Whiteness of Whiteness offer[s] invalu-

able insights not just for those working to raise children in biracial families,
but for all who would like to understand the notion of whiteness in order to
see beyond it and reach for fairness.”— Boyd Zenner, Women’s Review of Books

“This is a passionate, provocative, and moving narrative that should be on

every American’s reading list. Jane Lazarre writes from an angle of vision
that seems completely missing from the fractured and deeply troubled dis-
course about race in America. Her honesty and courage in telling this story
is as instructive as it is praiseworthy, compelling us to think and feel
differently.”— Sekou Sundiata, author of The Circle Is Unbroken Is a Hard Bop

“Beyond the Whiteness of Whiteness will be the classic Lazarre’s The Mother Knot
has become, a book in which a piece of American experience gets its full tell-
ing, a necessary book.”— Ann Snitow

“[Lazarre] . . . moves the reader. . . . When she writes, ‘I wish I could become
Black for my sons,’ she delves straight into the heart of her dilemma.”
— Helen Schulman, Elle
be yon d

the

w hiteness

of

w hiteness
beyond the whiteness

of whiteness

Memoir of a White Mother of Black Sons

t w en t iet h a n n i v er s a ry edi t ion w i t h n e w pr eface

Jane Lazarre

DU K E U N I V ER SI T Y PR ESS Durham and London 2016

© 1996 Duke University Press
Preface © 2016 Jane Lazarre
Cover design by Martyn Schmoll
All rights reserved
Printed in the United States of America
on acid-free paper ∞

Library of Congress Cataloging-in-Publication Data

Names: Lazarre, Jane, author.
Title: Beyond the whiteness of whiteness :
memoir of a white mother of black sons / Jane Lazarre.
Description: Twentieth anniversary edition. |
Durham : Duke University Press, 2016.
Includes bibliographical references and index.
Identifiers: lccn 2015039455
isbn 9780822361473 (hardcover : alk. paper)
isbn 9780822361664 (pbk. : alk. paper)
isbn 9780822374145 (e-book)
Subjects: lcsh: Mothers and sons—United States. |
Racially mixed children—United States.
Classification: lcc hq755.85 .l39 2016 | ddc 306.874/3—dc23
lc record available at http://lccn.loc.gov/2015039455
For Douglas H. White
and
Lois Meadows-White
and for
Leona Ruggiero,
who has been with me
every step of the way.
And for
Simeon Meadows White,
in lasting memory.
 con t en ts

Acknowledgments ix

Preface to the Twentieth Anniversary Edition xiii

Prologue xxvii

one. The Richmond Museum of the Confederacy 1

two. Color Blind: The Whiteness of Whiteness 21

three. Passing Over 53

four. Reunions, Retellings, Refrains 99

five. A Color with No Precise Name 125

Notes 137
ack now ledgmen ts

I received much help in the writing of this book. Most of the writers
whose work has taught and inspired me are mentioned within the text,
but there are other friends and colleagues whose support has been crucial
to me in all stages of the writing.
Miriam Sivan, Ruth Charney, and the late Sara Ruddick were my earli-
est readers. I can never adequately acknowledge my appreciation for their
intelligent response, their encouragement, and their love.
Maureen Reddy’s book, Crossing the Color Line, about being the white
Irish mother of Black children was an inspiration to me, and Maureen’s
early reading, suggestions, and strong support greatly aided the course of
my own work.
During various stages of writing, I counted on trusted readers to help
me evaluate, change, or remain confident in what I had written. These
x Acknowledgments

people—Donald Scott, Nancy Barnes, Claire Potter, Rachel Cowan,

Connie Brown, Jan Clausen, Carol Ascher, Marnie Mueller, Lynda Schor,
Carole Rosenthal, Edith Konecky, Rebecca Kavaler, Gary Lemons, Greg-
ory Tewksbury, and my sister, Emily Lazarre—all made invaluable sugges-
tions, thereby helping me to see things more clearly.
I owe very special thanks to the late Sekou Sundiata, whose reading of
and response to the manuscript was crucial and detailed. As an artist and
a human being, he inspires and points the way.
I am extremely grateful to Rachel Toor and Peter Guzzardi of Duke
University Press for the enthusiasm and help with all the stages of pub-
lishing this book.
Words cannot fully express my gratitude and regard for my agent, the
late Wendy Weil, and her assistant, Claire Needell. They not only pro-
vided the usual labor of agents, but kept me going during a crisis in the
life of this book. If not for their faith, I could not have completed this
work of bringing this memoir into the public realm.
Several years ago, while participating in a faculty seminar at Eugene
Lang College, I began to learn some of what I have tried to present here
regarding the way in which all our knowledge of ourselves and our so-
ciety is illuminated by a study of race and racism in a multicultural per-
spective. I am indebted to my student assistant, Cynthia Cohn, to my
colleagues in that seminar, and especially to its leader and convener, Toni
Oliviero, Associate Dean of the college, for expanding my knowledge of
African American and Latino studies and of the profound relationships
between curriculum and pedagogy.
I would like to thank the students in my seminars: “Writers Teaching
Writing” and “African American Autobiography and Writing the Self.”
Their insights and explorations are threaded throughout the book.
At a later stage, Lindsay Feinberg, a talented and trusted student, gave
generous help with research during a busy time.
This is a memoir of one woman, but it is also a story of a family. My
family has supported me emotionally, intellectually, and spiritually at
every stage of my writing.
Lois Meadows-White, my mother-in-law, has taught me much of what
I know about the Black experience. Her stories have inspired me, and
 Acknowledgments xi

with great generosity she has witnessed some of them become my own
stories to pass on. Her editing for accuracy of fact and rightness of tone
was invaluable.
My husband, Douglas Hughes White, listened to and read every chap-
ter, discussed every idea with me when I was uncertain or excited, and
gave the unfailing support he has given to me and my work over many
years. It is largely because of his belief in me that I had the temerity to
write this story in the first place.
More than anyone else, I want to thank my sons, Adam Lazarre-White
and Khary Lazarre-White. Through their example, their integrity in the
search for self, their companionship, and the struggles we have been
through together, I came to understand something about what is now
being called the American racial divide. Even as they pointed out that
treacherous geography, they provided the love and friendship that iden-
tify the crossing points and build the bridges we count on as we continue
our lives in this nation, which is so endangered by the racial conflict tear-
ing at its soul.
pr eface to t he
t w en t iet h a n ni v er sa ry edi t ion

In the original prologue to this memoir, written twenty years ago, I used
the words of Chinua Achebe as epigraph and talisman. Those words still
guide my work in memoir, fiction, and poetry; they form a direction for
me as I read, write, and live; they constitute a central belief, indeed, a
kind of faith.
“Imaginative identification is the opposite of indifference,” he tells us
in his essay “The Truth of Fiction.” “It is human connectedness at its
most intimate. . . . It begins as an adventure in self-discovery and ends in
wisdom and humane conscience.”1
The relationship of the art of writing to self-discovery and humane
conscience (within which I include “politics” with a small p) has often
been contentious, derided, or denied, but for me it is a central aspect
xiv Preface to the Twentieth Anniversary Edition

of craft—point of view, an ethical choice, and a quality of inspiration I

would even call soul-deepening.
Words from another writer who has guided me for many years, James
Baldwin: “The conundrum of color is the inheritance of every American,
be he/she legally or actually Black or White. It is a fearful inheritance, for
which untold multitudes, long ago, sold their birthright. Multitudes are
doing so, until today.”2
The warning in this statement has been a truth of American life for
centuries, yet it has most often been ignored, dismissed, even repressed by
the majority of Americans. We have seen a series of tragic and horrifying
murders of black men and boys by white police and vigilantes, resulting in
only one indictment, a trial and verdict still in the future at this writing:
South Carolina, April 2015: the murder of Walter Scott, a fifty-year-old
black man, captured on video, running fast from a white man who is
wearing the uniform of a police officer but betraying the requirement
to protect the innocent, who is shooting Scott in the back as he tries
to escape. “It was like he was shooting a deer,” my husband says, tears
of grief and rage indistinguishable, his words echoing many others—it
was like he was an animal. Just when I thought I might have found some
even partially adequate words to respond to the atrocities of 2015, Fred-
die Gray was killed in Baltimore. Indictments on various counts were
brought against the six police officers involved.
Baldwin’s words should be sounding in all our ears with the force and
ringing echoes of the Liberty Bell in 1776, but this time the ringing calls
us not to a celebration of freedom for a portion of the citizens of a new
nation, but to memory restored and reality faced at last. As I read and
reread these words, I am forced to pause, to wonder in fear and anger, if
more murders will occur before it is too late to add new sentences, new
victims’ names.

On the night of June 17, 2015, a young white man entered the Eman-
uel African Methodist Episcopal Church in Charleston, South Carolina,
where a group of parishioners were engaged in prayer study. The white
 Preface to the Twentieth Anniversary Edition xv

man who had been welcomed into the church massacred nine people,
including the minister of the church, Rev. Clementa Pinckney. Moth-
ers, grandmothers, sons, brothers, husbands, and wives were shot down
in cold blood, told before they died that they had to die because black
people were taking over the nation. One was allowed to live, to report to
the world the actions of the man who saw himself as a redeemer of the
white race. The shooter was arrested and indicted, and it soon became
known that he’d visited white supremacist historical and Internet sites
while cloaked in flags and insignia of Nazis, apartheid-era South Africa,
and white supremacist Rhodesia. Many white people, as well as people of
all backgrounds across the country, rallied with and supported the Afri-
can American citizens of Charleston. Yet the threadbare veil of national
racism—long standing and long denied—has now been torn to shreds,
our national disease shown to be unhealed, unrepaired, unreconciled.
Like many other Americans, I watched the funeral for Rev. Pinck-
ney on television, listened as the first African American president of the
United States —the president whom white racists have been threaten-
ing to kill since his election, questioning his very American-ness, try-
ing to defeat and humiliate him—Barack Obama delivered a eulogy
that was both a powerful indictment of racism and a meditation on the
concept of grace. Though I am not religious, through his words I came to
understand a new meaning of grace—the grace of holding on to a sense
of meaning in the face of moral chaos, that peace and goodness might
survive in a violent world, that the capacity for forgiveness, so astonish-
ingly and movingly expressed by members of the victims’ families facing
the murderer in court, is also within us all. In a nation many commenta-
tors rushed to define as “postracial” soon after Obama’s election in 2008,
now revealed as a nation yet to come to terms with what is being called
the “original sin” of slavery and segregation, the president stood still at
the podium and sang. In a subdued but emotional voice, he sang, at first
alone, then accompanied by many in the congregation, “Amazing Grace.”
In a recent column in the New York Times, Professor Nell Irvin Painter,
historian and writer, suggested that white allies of black liberation strug-
gles, still in progress, should call ourselves abolitionists, as white allies did
xvi Preface to the Twentieth Anniversary Edition

during slavery. This name feels accurate and appropriate now. Once again,
seeking grace, but also moral and historical clarity, I turn to Baldwin’s
prescient and brilliant essay, “Stranger in the Village.”

In the situation in which Americans found themselves, these beliefs

[of equality and democracy] threatened an idea which, whether or
not one likes to think so, is the very warp and woof of the heritage of
the West, the idea of white supremacy. . . . and the strain of denying
the overwhelmingly undeniable forced Americans into rationaliza-
tions so fantastic that they approached the pathological.3

With all the Confederate flags coming down, with our always too
quickly abandoned vows to “talk about race” in our nation, even many
of the best of us white Americans remain in denial, wanting above all to
retain a sense of innocence and ignorance of historical and contemporary
realities.
“And anyone”—Baldwin again—“who insists on remaining in a
state of innocence long after that innocence is dead turns himself into a
monster.”4

So it is with a renewed sense of responsibility and a deep sense of humility

that I write about race and racism, “the conundrum of skin color,” the re-
lationship between the art of writing and conscience. That sense prevails
as I recall the personal history that gave rise to this memoir.
My first working title for this book was The Education of an American
Woman, a phrase that now appears at the end of the prologue, an educa-
tion that is lifelong. In one sense, this memoir is a personal family story.
I became part of an African American family when I was twenty-three
years old, almost fifty years ago. The child I wrote about as “Benjamin”
in my first memoir, The Mother Knot, is forty-five years old now, a writer
and actor with a teenage daughter of his own. The baby born at the open-
ing of that book is forty-one and spends his life dedicated to African
American, Caribbean, and Latino children and youth in an organization
in Harlem he cofounded and now directs, The Brotherhood-Sister Sol.
This is the story of a white Jewish woman who fell in love with an African
 Preface to the Twentieth Anniversary Edition xvii

American man in the mid-1960s, when marriage between races was still
illegal in many states in this nation. Now my husband of forty-eight years,
Douglas White, has encouraged, taught, and helped me in many ways as
I pursued the theme of race and African American culture in my work
as a writer and a teacher. When I married him, I also fell in love in some
ways with his whole family, at the center of which was his powerful and
magnetic mother. She helped us raise our sons and contributed in many
ways to this memoir, telling me her stories and allowing me to retell them
in my own words. Still a dear and constant friend to me, at ninety-one
years old she can walk four miles with an ease I cannot manage.
When I found the precise words for the title of this book—Beyond
the Whiteness of Whiteness, a different turn on Ralph Ellison’s famous
phrase—I meant to suggest the possibility of rejecting willful innocence
and persistent ignorance of history, of being oblivious, out of callousness
or bigotry or fear, to the history and legacy of American slavery and gen-
erations of racial oppression continuing. I was recording a transformation
in consciousness—a shift, even a sea change, formed by the unique inti-
macies of motherhood, but also by long and serious study.
So in another sense, this is a story about a writer-teacher. Between
1984 and 2006 I taught fiction, memoir, and courses in African Ameri­can
literature at the Eugene Lang College at the New School in New York
City. Ironically, the place that gave me the opportunity to learn and teach
this literary tradition, so central and influential in American literature,
was also a place I ultimately left due to unresolvable arguments about
race. Whether curriculum, faculty, and recruitment of students should or
should not include attention to the history of race in America continues to
be a debate and challenge at all levels of education; it is a subject which, in
2015, is being discussed and argued widely again. Still, for almost twenty
years I was able to learn from colleagues, students, and my own studies
about how American culture and history have been profoundly influ-
enced by African American writers—their insights, their wrestling with
questions of American identities and the nature of freedom, the music
and cadences of a literary tradition that continues to inspire and grow.
The story of teaching undergraduates and learning from them is in-
separable from my story of being a mother of black sons. The internal
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