Irene's Experiences In Passing By Nella Larsen

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.

In Nella Larsen’s Passing: A Problem of Interpretation, Claudia Tate argues that race “is not the novels foremost concern, but is merely a mechanism for setting the story in motion” (344). Tate’s decision to focus on the “psychological ambiguity” (343) of the novel forbids her to elaborate on the relation between race and social class. As a result, I disagree with certain statements from Tate’s argument due to the lack of acknowledging the issue regarding race and social class. Tate initially claims that Irene’s understanding of race becomes a concern “when the impending exposure of Clare’s racial identity threatens to hasten the disruption of Irene’s domestic security” (Tate 344). However, Irene’s fear of being spotted as a

The language in the story is a kind of “ghetto-english” and the narrator sometimes removes or change a letter from a word, often vowels, which gives the reader a feeling as if they were there, hearing them talking. Besides using a first-person narrator, the author uses a limited omniscient narrator as we only hear the story from one point of view, the author also applies a stream of consciousness by taking the reader into Hazel’s mind so that we get to see every opinion she has on her surroundings.

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

The main plot of “Passing” focuses on two light-skinned black women, Irene Redfield and her old time friend Clare Kendry. Both women can “pass” as white women. Irene who is married to a successful African-American doctor, passes only when it is

Throughout the novel many problems occur. Some of the main problems are racial and equality issues. Events in this book show how prejudice and intolerance can ruin numerous friendships and change lives.

The oppression of all three characters is examples of how the fear of difference translates to the fear of life for those being discriminated against. In this oppression, Ruth McBride says she found comfort within the black community. She says she felt more welcomed from African Americans than from White society.

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

The writer narrates the novel in third person point of view. Although the story mainly centered around Mrs.Pontellier, The Awakening is omniscient. For instance, in the first few pages Mr.Pontellier views Edna as his property (Chopin, 4), or the When Madame Ratignolle tells Robert to back off flirting with Edna considering she might find him being serious (Chopin, 50), and when Mr. Pontellier concludes that Mrs. Pontellier is perhaps mentally ill (Chopin, 169-170).These scenes show us the other characters opinions and feelings and not what just what Edna feels, they also aid in understanding Edna as a character.

From the start the novel is laden with the pressures that the main characters are exposed to due to their social inequality, unlikeness in their heredity, dissimilarity in their most distinctive character traits, differences in their aspirations and inequality in their endowments, let alone the increasingly fierce opposition that the characters are facing from modern post-war bourgeois society.

In Passing, Clare and Irene two light-skinned African American woman, try to pass for white in a segregated society. Irene infrequently passes while Clare who is biracial, lives a boastful life by identifying herself as a white woman (so it seems). Irene on the other hand strives to

But they do not know what a pathetic mess I turn into when Leroy’s beating on me. I’m afraid to hit back...How can I love a man who beats me raw?” (485). Towards the end of the book here, Minny explains how weak and controlled she feels when she is being abused by her husband, Leroy. This is another dramatic story that portrays the intense emotion in this book. Both Aibileen and Minny experience difficult times and this fact further worsened the presence of segregation in their town. For example, the book described many examples of discrimination including Hilly’s bathroom initiative (every white family with a black maid required an outhouse for the maid, so they would not “catch diseases”), a police officer killing an innocent black man in front of his children, and not allowing colored people to use the public library among other facilities. These examples of segregation clearly depicted the conditions during that time, and the emotionally charged stories allow the readers to more easily connect with the characters, which leads them to better understand the movement and topic than with Hidden Figures. Not only was The Help more relatable through emotion, but also listed some very important figures in history.

Anne was immediately confused by their presence because they seemed to be just like her except for skin color. On one occasion all the children were playing together in the lobby of a movie theater. Anne was with some local white children playing, but when it was time to enter the movie lobby the white children went in one direction and Anne went in after her friends. Her disapproving mother quickly stopped Anne and they left the theater. Before this instance Anne had never considered the coincidence that all the white children watched the movie from the bottom terrace and all the African America children from the top terrace. While thinking about the difference Anne realized that the bottom terrace and side entrance was much more luxurious than the raggedy top terrace, where she and her mother usually sat (38-2). After this the difference in skin color became much more apparent to her in everyday life. Anne was motivated to find the answers as to why she was treated differently because of the color of her skin.

The narrator in the story “Miss Brill” by Katherine Mansfield, is telling us this story in the third person singular perspective. Our narrator is a non-participant and we learn no details about this person, from a physical sense. Nothing to tell us whether it is a friend of Miss Brill, a relative, or just someone watching. Katherine Mansfield’s Miss Brill comes alive from the descriptions we get from this anonymous person. The narrator uses limited omniscience while telling us about this beautiful Sunday afternoon. By this I mean the narrator has a great insight into Miss Brill’s perceptions, thoughts, feelings, and into her world as a whole, but no real insight into any of the other characters in this story. By using this point of view,

These novels largely followed the precedent of Victorian and Edwardian realistic characterization and narrative consciousness. The story of Rachel Vinrace is conveyed through the traditional omniscient, omnipresent narrative consciousness which occasionally projects its own thoughts, beliefs, attitudes, and emotions onto the "reality" of Rachel's world. In Jacob's Room, Woolf extends the omniscience of the narrator exponentially. Consciousness or narrative voice is no longer centered in a singular fictional "being." Instead, the narrative consciousness is dispersed across the whole of the work's universe; the collective voice of the novel includes the traditional impersonal presence as well as Jacob's view, Betty Flander's view, the view of the London crowds, and many others.