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practicing the arts of cogitation since the late 1900s.

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Posted on | December 13, 2007 | No Comments

(thanks, Deb)

Clinging to Mammy: The Faithful Slave in Twentieth-Century America

Micki McElya

2007 Myers Outstanding Book Award, Gustavus Myers Center for the Study of Bigotry and Human Rights

When Aunt Jemima beamed at Americans from the pancake mix box on grocery shelves, many felt reassured by her broad smile that she and her product were dependable. She was everyone’s mammy, the faithful slave who was content to cook and care for whites, no matter how
grueling the labor, because she loved them. This far-reaching image of
the nurturing black mother exercises a tenacious hold on the American
imagination.

Micki McElya examines why we cling to mammy. She argues that the figure of the loyal slave has played a powerful role in modern American politics and culture. Loving, hating, pitying, or pining for mammy became a way for Americans to make sense of shifting economic, social, and racial realities. Assertions of black people’s contentment with servitude alleviated white fears while reinforcing racial hierarchy. African American resistance to this notion was varied but
often placed new constraints on black women.

McElya’s stories of faithful slaves expose the power and reach of the myth, not only in popular advertising, films, and literature about the
South, but also in national monument proposals, child custody cases, white women’s minstrelsy, New Negro activism, anti-lynching campaigns, and the civil rights movement. The color line and the vision of interracial motherly affection that helped maintain it have persisted into the twenty-first century. If we are to reckon with the continuing legacy of slavery in the United States, McElya argues, we must confront the depths of our desire for mammy and recognize its full racial implications.


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  • CARLAGIRL PHOTO was founded on 14 February 1999 by Carla Willliams, a photographer, writer, and editor, born, raised and heading back to (yea!) Los Angeles, California.

    It was established with two goals: to be able to make my own work widely available for free, and to make accessible my research about artists of the African Diaspora, especially photographers, and in particular women. As it developed it grew to also include GLBTQ artists.

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