In the United States, the notion of racial "passing" is usually associated with blacks and other minorities who seek to present themselves as part of the white majority. Yet as Baz Dreisinger demonstrates in this fascinating study, another form of this phenomenon also occurs, if less frequently, in American culture: cases in which legally white individuals are imagined, by themselves or by others, as passing for black.

In Near Black, Dreisinger explores the oft-ignored history of what she calls "reverse racial passing" by looking at a broad spectrum of short stories, novels, films, autobiographies, and pop-culture discourse that depict whites passing for black. The protagonists of these narratives, she shows, span centuries and cross contexts, from slavery to civil rights, jazz to rock to hip-hop. Tracing their role from the 1830s to the present day, Dreisinger argues that central to the enterprise of reverse passing are ideas about proximity. Because "blackness," so to speak, is imagined as transmittable, proximity to blackness is invested with the power to turn whites black: those who are literally "near black" become metaphorically "near black."

While this concept first arose during Reconstruction in the context of white anxieties about miscegenation, it was revised by later white passers for whom proximity to blackness became an authenticating badge. As Dreisinger shows, some white-to-black passers pass via self-identification. Jazz musician Mezz Mezzrow, for example, claimed that living among blacks and playing jazz had literally darkened his skin. Others are taken for black by a given community for a period of time. This was the experience of Jewish critic Waldo Frank during his travels with Jean Toomer, as well as that of disc jockey Hoss Allen, master of R&B slang at Nashville's famed WLAC radio. For journalists John Howard Griffin and Grace Halsell, passing was a deliberate and fleeting experiment, while for Mark Twain's fictional white slave in Pudd'nhead Wilson, it is a near-permanent and accidental occurrence.

Whether understood as a function of proximity or behavior, skin color or cultural heritage, self-definition or the perception of others, what all these variants of "reverse passing" demonstrate, according to Dreisinger, is that the lines defining racial identity in American culture are not only blurred but subject to change.

In Never One Nation, Linda Frost argues that during the eventful decades surrounding the Civil War, American identity was constructed not only nationally but also locally. Depictions of race, class, and sexuality seen in P. T. Barnum's museums, in the image of the Circassian Beauty, and in popular periodicals like Harper's Weekly, the Southern Illustrated News, and the San Francisco Golden Era further illustrated who was - and who was not - an American. Local coverage of Native Americans and Chinese in the West, African Americans and recent Irish immigrants in New York, and slaves and Yankees in the South played a major role in conflating Americanness with whiteness. These ideas were shaped by reactions to events such as the 1863 Draft Riots and the Dakota uprising in Minnesota in 1862, and laid bare through the demonization of Northern whites in Confederate newspapers and anxieties expressed in California newspapers about the possibility of Chinese immigrants gaining U.S. citizenship. Through close readings of specific articles published in regional periodicals, mostly unexamined by literary scholars, Frost shows how Americanness came to be defined in the mid-nineteenth century by the mainstream popular culture. The era's many social upheavals - Emancipation, Reconstruction, the start of the Indian wars in the West, immigration, and the completion of the transcontinental railroad - sharpened the desire of Americans to feel part of a national community, even as they made this search for an American identity extremely contentious and necessarily fragmented. Never One Nation provocatively reframes the discourse on racial formation and reveals how local cultures and prejudices can recast the identity of a nation.

From the early 1500s to the mid-1700s, the American Southeast was the scene of continuous
tumult as European powers vied for dominance in the region while waging war on Native American communities. Yet even before Hernando de Soto landed his expeditionary
force on the Gulf shores of Florida, Native Americans had created their own “cultures of violence”: sets of ideas about when it was appropriate to use violence and what sorts of violence were appropriate to a given situation.

In New Worlds of Violence, Matthew Jennings offers a persuasive new framework for understanding the European–Native American contact period and the conflicts among indigenous peoples that preceded it. This pioneering approach posits that every group present in the Southeast had its own ideas about the use of violence and that these ideas changed over time as they collided with one another. The book starts with the Mississippian era and continues through the successive Spanish and English invasions of the Native South. Jennings argues that the English conquered the Southeast because they were able to force everyone else to adapt to their culture of violence, which, of course, changed over time as well. By 1740, a peculiarly Anglo-American culture of violence was in place that would profoundly influence the expansion of England’s colonies and the eventual southern United States. While Native and African violence were present in this world, they moved in circles defined by the English.

New Worlds of Violence concludes by pointing out that long-lasting violence bears long-lasting consequences. An important contribution to the growing body of work on the early Southeast, this book will significantly broaden readers’ understanding of America’s violent past.

Matthew Jennings is an assistant professor of history at Macon State College in Macon, Georgia. He is the author of “Violence in a Shattered World” in Mapping the Shatter Zone: The European Invasion and the Transformation of the Mississippian World, edited by Robbie Ethridge and Sheri Shuck-Hall. His work has also appeared in The Uniting States, The South Carolina Encyclopedia, A Multicultural History of the United States, and The Encyclopedia of Native American History.