Irene Redfield's Characters In Passing By Nella Larsen

One major challenge for women, evidenced throughout her novel, is the allegiance that these “passing women” have to their race. This allegiance is socially constructed and can be rather oppressive for women especially. Irene, at one point explained that, “She was caught between two allegiances, different, yet the same. Herself. Her race. Race! The thing that bound and suffocated her. Whatever steps she took, or if she took none at all, something would be crushed. A person or the race… Nothing, she imagined, was ever more completely sardonic” (98). She later asked herself, “That instinctive loyalty to race. Why couldn’t she get free from it?” (100).

Clare Kendry in Larsen’s Passing, is a very complex character. She is an African American woman, who is “passing” as a white Caucasian. It all started when her Dad died when she was little, and was taken to her white aunts. Her aunts treated her like she was the help, so this made her want to be wealthy when she is older. Irene is her childhood friend, who saw Clare go through her tough times. They grew apart for a while, but met up in Chicago a couple of years ago. Clare has made herself an outsider through her actions. She is an outsider because she tries to pass as a Caucasian, uses her friends for her own benefit, and secretly wants to get back to her cultural roots.

Passing is delivered mainly from the perspective of an african american woman named Irene Redfield. Although Irene is the main protagonist of the novel, her narration of the story gives a subjective point of view, thus, making her an unreliable narrator. Irene has manifested to intensify her jealousy and anger with Claire over time as Clare has been caught up with a rumor of an affair between Irene’s husband, Brian, hence giving a one point perspective of the story.

the novel Passing, Nella Larsen explores the consequences and disadvantages of two African Americans living in a segregated society. The reconnection between Irene Redfield and Clare Kendry illustrates two different paths in regards to how they portray themselves in their own community. Larsen displays Clare Kendry as a light – skinned women who tolerates her husband’s racial comments in order to live in a higher society. Clare’s decision to secretly hide her racial background because of the desire of wanting to be accepted by individuals of an upper social class greatly affects Irene. Clare’s determination of overcoming racial barriers by passing as a white individual is similar to the Rhinelander/Jones case. In 1924 the son of the wealthiest families in New York married the daughter of a taxicab driver. However, Leonard Rhinelander appealed to have is marriage annulled due to “believing his wife to be white when he married her” (135). Rhinelander suspected Alice Jones was hiding her racial background by passing as a white individual. As the trial progressed it was concluded that that Rhinelander had an understanding of her racial background before marriage was an option between the two. The Rhinelander/Jones case demonstrates how Clare Kendry decided to pass as a white individual in order to obtain wealth and social status by marrying a white male. The three criticism texts chosen demonstrates how racial passing between Irene Redfield and Clare Kendry contributes to social status.

Moreover, the fluidity, represented by the thoughts of the characters, is enhanced by the form of the novel: Mrs Dalloway is not divided into chapters; thus, it does not leave behind a sense of completeness. It is largely intertwined with the narration of Clarissa and that of the other characters and the action largely takes place in the mind. This is presented in form of free indirect discourse: the narrative conveys the thoughts of the selected character. This leaves the readers with an impressionistic story. To demonstrate how different characters bring about unequal messages, here is an illustration from the work: when Clarissa is strolling the streets of London, she and Septimus both see the same car. The vehicle leads them to different thoughts: for Septimus it is seeing in it the power of the modern world, which “was about to burst into flames” (13) or rather the oppressive relationship of technology and war, which ultimately leads to his suicide. He is bound by the internal, his suffering thoughts cannot help but to be captured in the memories of the World War I he fought in. For Clarissa, hearing the noise of the car provokes her to think she has heard “a pistol shot in the street” (12) (which later turns out to be true). By using such a form of representation, Woolf points to the invisible connections of people in a dehumanised, yet technology-bound, world, which create between them a form of interaction that serves as compensation for what Septimus (and

Though Beard is retelling Werner’s story, she does not do so through the first person. It is told through the eyes of a narrator, who knows more about the situation than Werner himself, at the time. For example, the narrator knows the cause of the fire and the fact that Werner will never be the same, “old Werner” (Werner 21). This extra knowledge engages the reader more with the story. On the other hand, even though the narrator knows more contextual details, they still provide insight into what Werner is feeling, as he is coping with the reality of being physically pushed “forward into something new and unfamiliar” (Werner 13).

When Irene finally realizes that this woman is Clare, someone who chooses to “pass” and hide all traces of her black heritage, Irene’s opinion of her changes. She no longer wants to be involved with Clare in any way, and “had no desire or intention of making the slightest effort about Tuesday. Nor any other day for that matter. She was through with Clare Kendry.” (p. 31) Irene is appalled that someone can so easily throw away her background just for the sake of gaining privilege over another race. When Clare asks her if she had ever thought of passing, Irene replies, “No. Why should I? You see, Clare, I’ve everything I want.” (p. 28) She is happy with what she has, not even having to give up anything to get there. Or at least that’s what she convinces herself to believe. Irene is again hypocritical in her beliefs. Even when she opposes Clare’s view of passing, she is still very interested in the idea. “The truth was, she was curious. There were things she wanted to ask Clare Kendry. She wished to find out about this hazardous business of ‘passing’…” (p. 24) She even admitted that she held for her “a fascination, strange and compelling.” (p. 28) Irene doesn’t seem to be able to decide if she accepts passing as reasonable. She forces herself to disagree with passing, allowing her to hate Clare for doing it. This shows us that sexuality and race are two matters that conflict with each other, at least in Irene’s opinion. She uses race to

Passing begins with Irene’s recollection of encountering Clare in Chicago a few months before the current events of the story take place. Their first meeting on the roof of the Drayton offers insight into the nature of both characters. Clare’s seductiveness and ability to influence Irene is established when Clare convinces Irene to spend more time with her, leaving Irene wondering “just what had possessed her to make her promise to find time” (22). The fact that Irene is in the process of passing during their first encounter exposes her hypocritical nature, especially when it is revealed throughout the story how much she looks down upon Clare for passing.

The story in Passing is devided into three parts: Encounter, Re-encounter, and Finale. The first part: Encounter, tells about Irene Redfield and Clare Kendry’s encounter in Drayton, Chicago. They grew up together, but lost touch when Clare’s father died and Clare was taken to live with her white aunts. During their encounter, Irene learnt that Clare “passes” as white. Apparently, Clare’s white aunts helped in hiding her African heritage from society including from Clare’s husband.

Unplanned, Irene saw Clare in Chicago and was disturbed by her. After dropping Clare out of her mind, she turned her mind to her lovely family, “To home, to the boys, to Brian. Brian, who in the morning would be waiting for her in the great clamorous station. She hoped that he had been comfortable and not too lonely without her and the boys” (Larsen P1 4). It seems that she has found a destination where she can find her own peace and comfort solution for all her troubles she has. This quote reveals the message that the women should be expected to find their love and their solutions to their problems. This also shows the expectations society has for women. Home is where the women should be at. Throughout Passing, Larsen starts to unveil pieces of her complicated mind and thoughts of Irene. For example, when Larsen brought up how women think about their husbands – “That craving for some place strange and different, which at the beginning of her marriage she had had to make such strenuous efforts to repress, and which yet faintly alarmed her, though it now sprang up at gradually lessening intervals” (Larsen P1 4). Even though she made Brian stay in New York for his job, which showed some power over

Although Irene feels that there is "nothing sacrificial in Clare's idea of life, no allegiance beyond her own immediate desire," it is apparent that Clare's desire to return to her African American race is honest, even if the motives seem rather one-sided (Larsen 144). Irene considers Clare to be "selfish, cold and hard" (Larsen 144). Irene also feels that Clare does not have "even in the slightest artistic or sociological interest in the race that some members of other races displayed…[She] cared nothing of the race, she only belonged to it" (Larsen 182). This may be true, but it does not diminish Clare's own pain at having to deny her African American heritage, and her desire to return to it. Irene represents a portion of society who feel that people who pass must have a morally acceptable reason to return to their African American roots such as a desire to rebel against a white society that has forced them into the role of a white person. Just because Clare feels "no permanent allegiance to either the black or white worlds or any of the classic anguish of the tragic mulatto" does not mean that she is not a tragic mulatto (Washington 48). In her own way, "Clare Kendry belongs with that group of tragic mulattos…emerg[ing] as an individual, not as a stereotype" (Davis 98). Because she wants to return to her own race on her own terms illustrates her individuality in the face of the

Often times, people view individuals by the way they handle situations and their responses to others. Every character in a story can be summed up in about three to four characteristics based on their actions and speech. In the short story “The Scarlet Ibis” by James Hurst, the narrator reveals his true character through the way he treats his younger brother. He possesses characteristics including authority, pride, and cruelty, and readers know these traits through Hurst’s dialogue and actions.

Automobiles are such a significant part of our culture today and have been for the past century as a whole. From the big screen to the pages of a book they can play seemingly important roles that cannot be ignored. Often times these vehicles can assume almost human like characteristics which can cause you, the viewer/reader, to develop a relationship with these inanimate objects whether they are the new, beautiful and sleek sports car or the old, ratty and beat-up truck. In Louise Erdrich’s “The Red Convertible” there are many occurrences in which the state of repair that the Olds is in gives you the sense that it closely represents Lyman’s current feelings towards his brother and how these feelings change and evolve throughout the length of the story.

1. Crane’s approach was written in third person, but the reader knows what Henry is thinking and feeling.

Irene wants to control her relationship with Clare and seems frustrated as she loses control when Clare is around. One occasion, Irene tries hard not to accept Clare’s invitation to meet her but ends up going. Later, Irene’s anger goes away just by the power of Clare’s smile, "And under her potent smile a part of Irene's annoyance with herself fled”. This constant loose of power makes Irene vulnerable and the possible affair between Clare and Brian gives Irene a motive for hating her instead of admitting her lesbianism and losing the life she has worked so hard to build.