Both The Woman of Colour and The Female American feature biracial protagonists whose very existence challenges the racial order and the taboo of miscegenation. Olivia Fairfield’s relative control over a vast amount of wealth inducts her into a British class system that hoped to deny her, which alongside her successful navigation of feminine agency, makes the text radical for its era. At the same time, yet her place within the West Indian race- and economy-based class system place her in a complex relationship with the Jamaican folk. Similarly, Unca Eliza Winkfield’s half-Native American identity in a proto-feminist Robinsonade imbues her text revolutionary potential, yet her alignment with Christianizing missionary work places her in a complex insider/outsider relationship with the project of empire.
These texts resonate with other texts of the era: in Jane Eyre, for example, Charlotte Brontë infuses Bertha Mason Rochester’s white creole identity with a bestial physiognomy, irrational madness, and a poetics of Gothic horror that all bespeak the troubled place of the white creole in the British cultural imagination as a result of metropolitan anxieties surrounding the project of empire. Insofar as Bertha functions as a “dark mirror” of Jane, she becomes a symbol of the psychologically abject that must be cast from the social order.
With attendant secondary and theoretical readings, a Scalar syllabus could more fully explore the cultural ruptures and containments that emerge in the literature surrounding metropolitan anxieties over colonial dominion.
(Such readings would include Rex Nettleford’s Mirror Mirror, Ramón Soto-Crespo’s “Trash Travels,” Julia Murray’s “The Country and the City and the Colony in The Woman of Colour,” Elsa Goveia’s Caribbean Cultural Thought, Douglas Lorimer’s “Reconstructing Victorian Racial Discourse,” and Lizabeth Paravisini-Gebert’s “Colonial and Postcolonial Gotchic,” and Betty Joseph’s “Re(playing) Crusoe/Pocahontas,” among others.)