Abstract
ABSTRACT Rachel Dolezal’s infamous self-proclamation of blackness has become an important snippet of public discourse contributing to US American attitudes about race. The recent Netflix documentary, The Rachel Divide, has inspired a new round of public conversation about Dolezal’s racial transgression and its effects on the black community, but what does Dolezal’s performance demonstrate about whiteness in the United States? I argue that Dolezal draws on queer practices to reconstitute her family and the authority of white mothers and daughters in a rhetorical move that showcases the elasticity of whiteness.
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