Racial Stereotypes in Pudd'nhead Wilson and The House Behind The Cedars

Mark Twain’s Pudd'nhead Wilson and Charles Chesnutt’s The House Behind the Cedars both critically examine the concept of race, revealing that societal stereotypes linked to skin color are far more ambiguous than commonly believed. Both authors challenge the rigid binary framework of black and white by presenting the mulatto characters—Roxy and Chambers in Twain’s narrative, and Rena and John in Chesnutt’s work. Through these portrayals, they expose the constructed nature of racial identities, emphasizing that racism has no biological basis and is instead a cultural fabrication.

The Racial Constructs of the Antebellum South

In the antebellum South, an individual’s identity was primarily determined not by merit or achievement but by lineage and race. The belief that racial composition dictated social worth is evident in Twain’s depiction of Roxy and Chambers. Despite their predominantly white appearance, they are subjected to the brutal realities of slavery due to their partial black ancestry. Twain illustrates this illogical labeling of race when he writes, “For all intents and purposes Roxy was as white as anybody, but the one sixteenth of her which was black outvoted the other fifteen parts, and made her a Negro.” This highlights the absurdity of racial superiority and the arbitrary nature of racial classifications. The ease with which Roxy can exchange identities with her son Chambers (who becomes Tom) further emphasizes that racial differences are societal constructs rather than inherent truths.

The Interchangeability and Its Complications

However, the notion of racial interchangeability introduces complications. The character of “Tom,” who is portrayed as possessing “natural viciousness,” raises questions about the implications of associating negative traits with race. Roxy, too, succumbs to this ideology, attributing Tom’s flaws to his blackness, revealing her internalization of racist stereotypes. The narrator challenges this view by highlighting Tom’s loyalty to Roxy, suggesting that his kindness stems from his upbringing rather than his race. This distinction is crucial, as it indicates that individual character cannot be solely attributed to racial identity. Twain’s conclusion, illustrated through the uniqueness of fingerprints, reinforces this idea: every individual is distinct, making blanket classifications based on race fundamentally flawed.

Chesnutt’s Exploration of Racial Identity

Similarly, in The House Behind the Cedars, Chesnutt explores the fluidity of racial identity through Rena, a young woman who is indistinguishable from her white counterparts. Her relocation from Patesville, where she is seen as black, to a new environment allows her to embrace her identity as white, demonstrating that race is a socially constructed category. Upon her return to Patesville, she is again seen as “a cullud ‘oman,” highlighting the arbitrary nature of racial perception. This fluctuation in identity underscores the powerful influence of environment over genetic inheritance, reinforcing the idea that racial classifications are not fixed but rather subject to change.

Rena’s Journey and Identity Clarification

As Rena embraces her black identity, she often finds herself explaining her position within the black community to those who assume she is white based on her appearance. This constant need for clarification serves to challenge stereotypical notions of race, as Rena’s identity cannot be neatly categorized. She exists beyond the binaries of black and white, emphasizing the individuality of her character. The following table summarizes the key differences in how both authors approach racial identity:

Conclusion: Beyond the Binaries

Both Pudd'nhead Wilson and The House Behind the Cedars interrogate the validity of the “one drop rule,” which dictates that any amount of black ancestry categorizes an individual as black. Chesnutt directly challenges this notion, prompting readers to reconsider the boundaries of racial categories, while Twain employs satire to encourage a focus on individual character rather than racial identity. Both narratives reveal that skin color is irrelevant in determining a person’s worth or character, advocating for a recognition of individuality over racial binaries. In a world where every fingerprint is unique, so too is every individual, underscoring the futility of rigid racial classifications.

Bibliography

Twain, Mark. Pudd’nhead Wilson. Mineola, NY: Dover, 1999.

Chesnutt, Charles W. The House Behind the Cedars. New York: Houghton Mifflin & Co., 1900. Reprint, Athens, GA: University of Georgia Press, 2000.