Passing Novel by Nella Larsen

Passing Novel by Nella Larsen

Passing by Nella Larsen explores the complexities of racial identity and the concept of 'passing' in 1920s America. The novel follows Irene Redfield and Clare Kendry, two childhood friends whose lives diverge due to their racial choices. Irene, a stable and married woman, grapples with her identity and the societal pressures surrounding her, while Clare, who has chosen to pass as white, seeks acceptance in a world that denies her true heritage. The narrative delves into themes of race, gender, and the psychological toll of societal expectations. This edition is essential for readers interested in African American literature and the Harlem Renaissance.

Key Points

  • Explores themes of racial identity and 'passing' in 1920s America
  • Follows the lives of Irene Redfield and Clare Kendry, childhood friends with diverging paths
  • Examines the psychological impact of societal pressures on race and gender
  • Highlights the complexities of friendship and betrayal in a racially divided society
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PART ONE: ENCOUNTER
O N E
IT WAS the last letter in Irene Redfield’s little pile of morning mail. After
her other ordinary and clearly directed letters the long envelope of thin Ital-
ian paper with its almost illegible scrawl seemed out of place and alien.
And there was, too, something mysterious and slightly furtive about it. A
thin sly thing which bore no return address to betray the sender. Not that she
hadn't immediately known who its sender was. Some two years ago she had
one very like it in outward appearance. Furtive, but yet in some peculiar,
determined way a little flaunting. Purple ink. Foreign paper of extraordinary
size.
It had been, Irene noted, postmarked in NewYork the day before. Her
brows came together in a tiny frown. The frown, however, was more from
perplexity than from annoyance; though there was in her thoughts an ele-
ment of both. She was wholly unable to comprehend such an attitude to-
wards danger as she was sure the letters contents would reveal; and she
disliked the idea of opening and reading it.
This, she reflected, was of a piece with all that she knew of Clare Kendry.
Stepping always on the edge of danger. Always aware, but not drawing
back or turning aside. Certainly not because of any alarms or feeling of out-
rage on the part of others.
And for a swift moment Irene Redfield seemed to see a pale small girl
sitting on a ragged blue sofa, sewing pieces of bright red cloth together,
while her drunken father, a tall, powerfully built man, raged threateningly
up and down the shabby room, bellowing curses and making spasmodic
lunges at her which were not the less frightening because they were, for the
most part, ineffectual. Sometimes he did manage to reach her. But only the
fact that the child had edged herself and her poor sewing over to the farther-
most corner of the sofa suggested that she was in any way perturbed by this
menace to herself and her work.
Clare had known well enough that it was unsafe to take a portion of the
dollar that was her weekly wage for the doing of many errands for the
dressmaker who lived on the top floor of the building of which Bob Kendry
was janitor. But that knowledge had not deterred her. She wanted to go to
her Sunday school's picnic, and she had made up her mind to wear a new
dress. So, in spite of certain unpleasantness and possible danger, she had
taken the money to buy the material for that pathetic little red frock.
There had been, even in those days, nothing sacrificial in Clare Kendry's
idea of life, no allegiance beyond her own immediate desire. She was self-
ish, and cold, and hard. And yet she had, too, a strange capacity of trans-
forming warmth and passion, verging sometimes almost on theatrical
heroics.
Irene, who was a year or more older than Clare, remembered the day that
Bob Kendry had been brought home dead, killed in a silly saloon-fight.
Clare, who was at that time a scant fifteen years old, had just stood there
with her lips pressed together, her thin arms folded across her narrow chest,
staring down at the familiar pasty-white face of her parent with a sort of
disdain in her slanting black eyes. For a very long time she had stood like
that, silent and staring. Then, quite suddenly, she had given way to a torrent
of weeping, swaying her thin body, tearing at her bright hair, and stamping
her small feet. The outburst had ceased as suddenly as it had begun. She
glanced quickly about the bare room, taking everyone in, even the two po-
licemen, in a sharp look of flashing scorn. And, in the next instant, she had
turned and vanished through the door.
Seen across the long stretch of years, the thing had more the appearance
of an outpouring of pent-up fury than of an overflow of grief for her dead
father; though she had been, Irene admitted, fond enough of him in her own
rather catlike way.
Catlike. Certainly that was the word which best described Clare Kendry,
if any single word could describe her. Sometimes she was hard and appar-
ently without feeling at all; sometimes she was affectionate and rashly im-
pulsive. And there was about her an amazing soft malice, hidden well away
until provoked. Then she was capable of scratching, and very effectively
too. Or, driven to anger, she would fight with a ferocity and impetuousness
that disregarded or forgot any danger; superior strength, numbers, or other
unfavourable circumstances. How savagely she had clawed those boys the
day they had hooted her parent and sung a derisive rhyme, of their own
composing, which pointed out certain eccentricities in his careening gait!
And how deliberately she had—
Irene brought her thoughts back to the present, to the letter from Clare
Kendry that she still held unopened in her hand. With a little feeling of ap-
prehension, she very slowly cut the envelope, drew out the folded sheets,
spread them, and began to read.
It was, she saw at once, what she had expected since learning from the
postmark that Clare was in the city. An extravagantly phrased wish to see
her again. Well, she needn't and wouldn't, Irene told herself, accede to that.
Nor would she assist Clare to realize her foolish desire to return for a mo-
ment to that life which long ago, and of her own choice, she had left behind
her.
She ran through the letter, puzzling out, as best she could, the carelessly
formed words or making instinctive guesses at them.
". . . For I am lonely, so lonely . . . cannot help longing to be with you
again, as I have never longed for anything before; and I have wanted many
things in my life. . . . You can't know how in this pale life of mine I am all
the time seeing the bright pictures of that other that I once thought I was
glad to be free of. . . . It's like an ache, a pain that never ceases. . . ." Sheets
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FAQs of Passing Novel by Nella Larsen

What is the main conflict in Passing?
The main conflict in Passing revolves around the lives of Irene Redfield and Clare Kendry, who navigate the complexities of racial identity in a racially divided society. Irene, who identifies as Black, struggles with her sense of belonging and the societal expectations placed upon her, while Clare, who passes as white, grapples with the consequences of her choice to deny her heritage. Their friendship is tested as Clare's desire to reconnect with her roots threatens to disrupt Irene's carefully constructed life. This tension highlights the broader themes of race, identity, and the personal sacrifices made in pursuit of acceptance.
How does Clare Kendry's choice to pass affect her relationships?
Clare Kendry's choice to pass as white significantly impacts her relationships, particularly with Irene Redfield and her husband, John Bellew. By denying her Black heritage, Clare gains access to a privileged social circle but also faces the constant threat of exposure and the emotional toll of living a lie. Her desire to reconnect with Irene and the Black community creates tension, as Irene fears the repercussions of Clare's actions on her own life and family. Clare's relationships become a balancing act between her longing for acceptance and the reality of her racial identity, ultimately leading to tragic consequences.
What themes are explored in Passing?
Passing explores several themes, including racial identity, the complexities of friendship, and the impact of societal expectations on personal choices. The novel delves into the psychological effects of 'passing' for white, highlighting the internal conflicts faced by individuals who navigate multiple identities. It also examines the dynamics of race and gender, showcasing how these factors shape the characters' lives and relationships. Additionally, themes of betrayal and the quest for belonging are central to the narrative, as Irene and Clare confront the consequences of their choices in a racially stratified society.
What is the significance of the title Passing?
The title Passing holds significant meaning within the context of the novel, referring to the act of a person of one racial identity presenting themselves as another, particularly in the case of Clare Kendry, who passes as white. This act of passing raises questions about identity, authenticity, and the societal pressures that compel individuals to deny their heritage. The title encapsulates the central conflict of the narrative, as it explores the emotional and psychological ramifications of living a life that is not true to one's self. It also reflects the broader themes of race and the complexities of navigating a racially divided society.

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