of three biographical studies, two essay collections, a collection of short fiction, and numerous articles and reviews related to visual art and Haitian literature.
Her books include Helene Schweitzer: A Life of Her Own and Jacques Roumain: A Life of Resistance.
Marxsen applied the "Page 99 Test" to her new book, Karen Blixen's Search for Self: The Making of "Out of Africa" (LSU Press), with the following results:
Page 99 of my book proves the astute observation of Ford Madox Ford to be true in many ways. On that page, I begin with the fact that animals are everywhere in Karen Blixen’s famous memoir of her idealized African world. In that sense, Out of Africa echoes her idyllic early childhood in nineteenth-century Denmark where “dogs, horse, and birds were ever-present.”Visit Patti M. Marxsen's website.
This gets complicated, however, when Blixen compares Black African people to animals … as she does, throughout her book, with statements such as, “The old dark clear-eyed Native of Africa, and the old dark clear-eyed Elephant, they are alike.” For this she has been criticized by post-colonial scholars who read her animal metaphors as evidence of racism since racism was, clearly, built into the framework of British Colonialism and she was, in fact, a colonizer by choice. Yet when neither species is deliberately diminished—as in the example of a wise old elephant—another perspective emerges that goes to heart of a current culture debate that dares to question human superiority as the basis of modern “humanism” vs. the wisdom of the animal world as an essential aspect of what many scholars refer to as “post-humanism.” As Danish scholar Peter Mortensen points out, Karen Blixen’s unique vision represents one of the early examples of “post-humanism” because it recognizes a necessary balance of human/animal interaction.
This issue is one of several that emerges in my book as I offer a twenty-first-century reading of a twentieth-century classic, beginning with a “deep dive” into how Karen Blixen thought and lived with issues of colonialism, racism, and feminism in a section titled “Contested Legacy.” I also untangle a kind of “identity theft” in that section with regard the blockbuster film in 1985 that posthumously romanticizes Blixen’s difficult life.
I find it fascinating that one page of a book can serve as a kind of “on ramp” to the many complex issues I explore through the lens of a memoir first published in 1937. That said, I would argue that a true understanding of Karen Blixen’s life and work requires several angles of vision—and many more pages.
--Marshal Zeringue










