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South African white supremacy has been shaped by over 400 years of settler colonialism and white minority apartheid rule to craft a pervasive and entrenched legacy of privilege and oppression in the post-apartheid context. This paper explores the constructions of white supremacy, specifically its role in shaping the perceptions of first-generation mixed-race identity in South Africa, through semi-structured, in-depth interviews. Through a critical race theory and an intersectional lens, this paper unpacks the personal, political, and social impact of white supremacist structures on the identity construction of first-generation mixed-race people in post-apartheid South Africa; specifically, societal- and self-perceptions of their identity within power structures with which they interact. Moreover, this paper aims to understand how first-generation mixed-race people understand their connections to white privilege. Ultimately this paper argues that although first-generation mixed-race people experience relative privilege, their access to white privilege and acceptance within structures of whiteness is always conditional. [ABSTRACT FROM AUTHOR]

In this article, I consider a selection of photographs of a man of color from a luxury book of male nudes, Images (1982), aimed at white gay men and published in South Africa by Alternative Books (AB) in the late apartheid period. Given the exclusive association of assimilable homosexuality with whiteness in the national gay press and other homoerotic commodities available in South Africa at the same historical juncture, I propose that these photographs, which interrupted longstanding, racist homoerotic iconographies, elicited experiences of ambivalence (and thus critical reflection) amongst their historical audiences. To this end, I analyze the editorial and commercial content of the newspapers Link/Skakel and Exit for the period that AB was active (1981–1991), anticipating an overlap of readership between these papers and the publisher's titles. More precisely, I discuss the prevalence of the figure of the "good homosexual" and representations of classical (that is, white) male beauty in these papers to plot how apartheid logic was broadly reproduced (and same-sex desire disciplined according to such dictates) in mainstream South African gay movements, institutions, and print cultures during this time, but, notably, not in Images. [ABSTRACT FROM AUTHOR]