Racially ambiguous black women had a precariously liminal status in the first half of the 20th century. They lived in a predominately racist society with patriarchal values, so their choices were limited. However, due to being able to pass, such women could attempt to assimilate with white people or follow a safer choice of settling with a black man, as the latter did not have to fear that their secret would become exposed one day. Larsen’s Passing shows that both alternatives do not guarantee happiness or security; the women are dependent on their husbands’ status, and the rigid class denies its female members many options.
Passing tells the story of two women, Clare and Irene, who are capable of passing. Although they enjoy the benefits, of attending such white-only places as Drayton or riding a taxi, which would be unthinkable otherwise, their paths and classes are different (Larsen 64). Clare’s husband is supposedly rich, as his “untold gold” from South America suggests, potentially making the woman an upper-class representative (Larsen 78). Despite their high status, she is also the most vulnerable in case her blackness is exposed. Irene’s husband is a doctor, which is a respectable profession, putting the family in the middle-class (Larsen 92). Horton suggests that she also belongs to it by birth, which explains the woman’s worldview (34). Although it could be true, given her superior position to Clare in their childhood, whether Irene retains the class membership individually remains unclear, illustrated by the apprehension regarding leaving Brian. Larsen’s idea is that the women’s status is defined by their spouses, which further makes them anxious because reverting to the original social position might be undesirable.
Although it is Clare who has much to lose if her blackness becomes apparent, a marriage’s collapse is vividly represented by Irene. She is skeptical about her husband in many aspects: appearance, aspirations, and fidelity. Irene wonders if he is feminine despite being described as handsome and negatively assesses Brian’s desire to move to Brazil (Larsen 102). Her worries can be justified: masculinity was highly valued, and leaving for another country is risky, even if it is a less racist society. Blackmore believes the desire could be a metaphor for homosexuality, which is evident in Brian’s jocular and indifferent treatment of sex and women (477). The claim is not baseless, as Irene is unsure whether “at bottom it’s just Brazil” (Larsen 132). Perhaps, she senses her husband’s craving for a different life and fears it due to potentially losing the cherished stability. Blackmore also supposes that Irene is trapped, unable to gain independence and express creativity (479). The claim is debatable, as she clearly values her marriage and wants it to work no matter what. Thus, Irene’s motivation not to leave Brian is probably external, born from social (class) expectations.
Conversely, Clare’s incentive to remain in the risky predicament is understandable, although her attitude seems contradictory at times. She openly flirts with other men, which demonstrates a strange feeling of security – Clare will lose everything if John leaves her, yet the actions imply confidence. Perhaps, what she wants is for her husband to abandon her for any other reason – except for being black. The careless behavior is a testament to that, and even introducing Irene and Gertrude as friends could be interpreted as an attempt to make John end their relationship. However, they successfully pass, and the scheme fails, inciting Clare to be bolder and more insistent as far as her visits to Irene are concerned. She gradually realizes that maintaining the act is burdensome and that Jack “keeps her out of everything,” leading to her attempts to reconnect with the black community (120). Still, Clare clings to the marriage because it guarantees her a luxurious life fitting the woman’s appearance and ambitions.
Both women had different starting points, which may influence their lives in case of leaving their husbands. As mentioned, Irene is a middle-class representative by birth, and she strictly adheres to her class (Larsen 85). Irene values “the sense of security” that is maintained by the marriage and fears change, especially if it affects “the smooth routine of her household.” (Larsen 106-107). Although Irene is averse to impermanence, she has certain connections made through the N.W.L., including Hugh Wentworth, that may help her weather the consequences of divorce (Larsen 117). Wald believes that the woman might perceive a stable black marriage as the race’s needs (49). In such a case, divorcing Brian will be an act of betrayal, although not on the same scale as Clare’s. Thus, she is likely to resign willingly, considering herself a traitor. If one follows Goodspeed-Chadwick’s feminist interpretation, Irene is a commodity (99). Therefore, outside of the marriage, she will do her be treated as a proper person, and all potential opportunities will be denied to her, including her current occupation. Both interpretations imply difficulties, and Irene could be well aware of them.
Unlike Irene, Clare is in a less convenient position regarding her origins and potential outlets. She is a janitor’s daughter, whose father supposedly held a degree but could not have a more prestigious occupation for some reason (Larsen 72). Clare envied Irene and other childhood friends for having everything she wanted and started associating with white people, which was an open secret (Larsen 73-77). Perhaps, the young woman felt less judged in the other community and saw many opportunities to ascend the social ladder as someone who could pass. Clare is self-aware of her status as a “deserter,” but with her father dead, she, perhaps, viewed assimilation into the white community as the only choice (Larsen 70, 87). Simultaneously, Clare appears attracted to the glamorous surroundings and the act of passing, so abandoning the upper-class lifestyle, which is “worth the price” of tolerating Jack’s racism, might be difficult after many years of pretense (Larsen 79). Thus, Clare’s suicide is not an unthinkable outcome, considering the absence of viable alternatives.
Clare and Irene are often compared in wealth and happiness throughout the novel. Clare claims that Irene’s way is “wiser and infinitely happier,” suggesting that she feels miserable in the situation (Larsen 96). Conversely, Irene is content with her marriage, only wanting “a little more money” (Larsen 79). Clare’s amber beads “would easily have made six or eight like one Irene owned,” implying a significant gap between the women’s income (Larsen 139). The phrase “poorer darker brethren,” made by Irene in reference to Clare, also suggests that the former is aware of the latter’s superior status (Larsen 104). However, Irene’s unhappiness is not rooted in money but rather in her husband (Larsen 132). Still, she feels scornful towards Clare, who wants to “eat her cake have it too” and “nibble at the cakes of other folks” (Larsen 101). Irene finds it unauthentic to enjoy the white upper-class benefits while wishing to reunite with middle-class black people. Altogether, despite the women’s socioeconomic differences, they are equally unhappy.
Although Irene berates and resents Clare, she also secretly admires her. Wald believes that the former envy the latter’s nerve and may be tempted to follow in her footsteps (49). Indeed, Irene may lack the “nerve,” but she sees how perilous Clare’s way is (Larsen 76). Irene needs security, even if it means being in an inferior position, so the jealousy will never translate into anything. Wald highlights the woman’s inability to fulfill her self-interests as a potential trigger to mirror Clare’s lifestyle (49). However, she highly values the family, and it would be unbecoming to abandon the boys for something potentially unachievable at the time. Clare only seems free-spirited because her husband’s occupation allows it; otherwise, the woman’s position is hardly enviable, even with all the financial benefits. Overall, the admiration may be present, but Irene is not necessarily willing to walk the thorny path herself.
One may view Irene as subordinate to her husband and a victim, although the situation also puts a burden on the man, considering his affiliation with the black middle-class. Brian expresses dissatisfaction with the job and is visibly unhappy about all of its aspects (Larsen 105). Blackmore considers the marriage a contractual one, where performing certain duties for society (such as procreation) is more important than loving each other, although it continues to exist due to mutual benefits (475, 480, 481). It is difficult to argue with this interpretation because Irene admits to herself that she does not know love (Larsen 153). Conversely, the woman also questions Brian’s love for her, which is especially evident after the cheating suspicions. Still, Irene is financially secure, and no one doubts Brian’s masculinity and capabilities as a man. However, he is unsatisfied with the status quo, wishing to leave for Brazil, an idea conceived for the children’s sake and abandoned for Irene’s (Larsen 150). Brian is not particularly henpecked; rather, the marriage appears relatively democratic. Perhaps, the even standing spoils the union because neither is resolute enough to end it.
One could argue that the bourgeois roots of both Irene and Clare determined their unhappy marriages. The idea is widely supported by Jenkins, who maintains that the class has a strict code defined by the integration with white spaces, violating which results in a transgression (133). If one accepts this logic, then Irene strives to follow the rules, while Clare is an offender, who reveals the order’s existence. The question remains why the former is still miserable in her marriage. One interpretation is that she struggles to meet the expectations because her husband’s mind is elsewhere, meaning that the wife failed at something. Another reading is that Irene is unhappy due to having to abide by the code. However, Horton describes the class as central to her worldview, which is also supported by the context (33). Thus, the second option is unlikely, and the intense class loyalty strengthens the first one. Conversely, Clare’s misery stems from betraying the black bourgeois community in several senses: racially, economically, and culturally, and all are equally transgressive. Overall, the bourgeois hold on the women’s lives makes it difficult to them to escape the situation.
The novel’s escalation and climax suggest that Clare and Irene have a solution to their unhappiness – at each other’s expense. Horton suggests that the former would achieve happiness by reuniting with her community, with the latter being the catalyst (45). It appears sensible, given Clare’s attempts to reconnect with Irene and, through her, others. However, the solution requires starting a relationship with a black man, as Clare’s status is likely to be nullified upon leaving Jack. Thus, Irene’s suspicion that Brian is cheating on her with Clare could be justified, even if the truth remains unknown (Larsen 136). Irene’s path is less certain: she may achieve happiness either by securing Brian’s commitment or leaving him, which will result in a code violation. As she eventually equals her husband’s absence of loyalty with infidelity, removing Clare from the picture becomes an apparent solution. Wald refers to Clare as Irene’s “sacrificial victim,” which may help the latter achieve the desired happiness and stability (50). It could be the woman’s reasoning until her friend’s suicide, which hardly justifies the goal. Ultimately, both used each other to adjust themselves to the class’s expectations.
Passing is a tragic story of how one’s status haunts a person until the end. Clare might have elevated herself to unreachable heights, but she is still a bourgeois black woman at heart who cannot ignore the community’s disapproval, despite mocking them in front of Jack. Irene strives to meet the class standards, even if it costs her happiness. They are trapped in their marriages due to being barely enfranchised women with limited options, especially upon divorcing their husbands, and all solutions would be destructive in one way or another.
References
Blackmore, David L. “’That Unreasonable Restless Feeling’: The Homosexual Subtexts of Nella Larsen’s Passing.” African American Review, vol. 26, no. 3, 1992, pp. 475-484.
Goodspeed-Chadwick, Julie. “Sexual and Identity Politics in Nella Larsen’s Passing: Woman as Commodity.” The Griot: Official Journal of the Southern Conference on Afro-American Studies, Inc., vol. 22, no. 2, 2003, pp. 99-104.
Jenkins, C. M. (2005). “Decoding Essentialism: Cultural Authenticity and the Black Bourgeoisie in Nella Larsen’s Passing.” MELUS, vol. 30, no. 3, 2005, pp. 129-154.
Larsen, Nella. Passing. Random House, 2007.
Wald, Gayle. “Passing and Domestic Tragedy.” Crossing the Line: Racial Passing in Twentieth-Century US Literature and Culture, edited by Gayle Wald and Donald E. Pease, Duke University Press, pp. 46-50.