Clare Kendry's "True" Colors

Race and Class Conflict in Nella Larsen's Passing

Bibliographic Data

ID3294124
AuthorsJennifer Devere Brody (corresponding author)
Year1992
Volume15
Issue4
Pages1053
Publication date1992-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueCallaloo (JOURNAL)
Journal identifiersISSN: 0161-2492 • E-ISSN: 1080-6512
PublisherJSTOR (PUBLISHER)
DOI10.2307/2931920
OpenAlexW2321876407
LanguageEN
Citations received19

Interpretations of Nella Larsen's Passing (1929) often have failed to explain the complex symbolism of the narrative. Indeed, dismissive or tendentious criticisms of the text have caused it to be eclipsed by Larsen's earlier and more intriguing book, Quicksand (1928).1 This essay reexamines Passing as a work concerned with the simultaneous representation and construction of and especially class, within a circumscribed community. As such, my paper contributes to debates within Black feminist criticism about the value of these aspects of identity in relation to the production of black female subjectivities. I contend that the novel's main characters are neither purely psychological beings, as Claudia Tate asserts, nor are they essentially creatures, as Deborah McDowell argues. Rather, I read Irene Redfield and Clare Kendry as representatives of different ideologies locked in struggle for dominance. In her introduction to Passing Deborah McDowell, one of the most astute critics of Larsen's work, states that critics have been misled by the novel's epigraph ... [since] it invites the reader to place at the center of any critical interpretation.2 It would appear that McDowell herself has been misled by Passing's obviously unreliable narrator. So too, McDowell seems to agree with Claudia Tate's belief that, Race is peripheral to Passing. It is more a device to sustain the suspense than a compelling social issue.3 I disagree with these assertions because it seems to me that the text is all about race or rather, the mediation of in relation to sexuality and class.4 McDowell recognizes certain tropes employed by Larsen and, like many other critics, she maintains that Irene Redfield is the primary referent of the novel's title. Ultimately, however, McDowell is unable to give a full explication of the text's meaning since she tries to read/uce the text as a tale of latent sexual passion without discussing the key issues of and class. Thus, while her discussion is certainly valuable, one might also say that it reifies sexuality at the risk of not exploring how sexuality is connected inextricably with other historically produced phenomena such as and class. In order to sustain her ingenious reading of Passing as a tale that passes for straight and sublimates lesbian desire, McDowell misses the more intricate implications addressed by Larsen's work. The iconography McDowell reads as sexual is simultaneously racial: it also expresses class positionality. For example, the objective correlative envelope used in the first paragraph of the novel signifies not only the (McDowell reads it as a metaphorical vagina) but also the sender's (alien) and class (elite). Thus, my reading emends McDowell's by insisting on the importance of and class in Passing. If as well as class conflict must occupy a primary position in any discussion of

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