Touching Back while Black: Self-Defence and the Politics of Black US Citizenship in Paul Green’s In Abraham’s Bosom

Considering the critical methods of performance studies, critical race studies, and sensorial studies, this article analyses the creation of social identities through the rubric of touch – a tactile sensibility that provides a cultural foundation for the mis perception of bodies as racialized subjects. Touch has been an under-researched and under-utilized methodology for understanding how race works. Specifically attending to the historical period of Jim Crow in the early twentieth century because of its deeply held investments in the politics of separateness, this article examines Paul Green’s 1926 Pulitzer Prize–winning play In Abraham’s Bosom as one of the rare dramas during this period that actually showed Black acts of touching back on the stage. Green challenges his audience to contend with an oppressive Jim Crow racial regime that forced African Americans to establish alternative modes of freedom outside of more traditional expressions of autonomy and citizenship. Reading Green’s work in this way allows for a consideration of the differing strategies at play in the fight toward equality for Black Americans. Taking up tactility, in the context of the United States, as a cultural system used to mark bodies as raced and weaponized to uphold white supremacy, this essay approaches touch as a performative act that is meaningful, effective, and consequential, thereby grappling with the present ways that American society underestimates the social, political, and cultural power that touch wields in our understanding of social identities.