Nella Larsen Gender

One’s lips are more revealing than one’s words. Words, either spoken or written by the individual, disclose a great deal about the person to others. However, these messages can be limited and inaccurate depending on the societal norms and the extent the individual wants to reveal. Due to the constraints on words, raw physical features provide an alternative insight on an individual’s mindset. These physical features, including the eyes, nose, and lips, work in conjunction to convey a message to those who look hard enough. Nevertheless, each of these features can also work independently to expose aspects of a person’s life. In Passing, Nella Larsen heavily utilizes facial features as objects to tell the story of race and identity. In particular,

Some of the story’s meaning and values involves around race, friendship and the abandonment began to emerge as the plot thickens, and more messages became hidden and remain unrecognized in the story. It’s a controversial story, which conveys an important clue for what race is and if by any means really matters in the scheme of life. She also manipulate the story’s lingual authority to describe those two women’s races interchangeable bringing about the confusion of the readers, and utilized the character’s activities and dialogue during the friend’s gatherings to prove the equality theme between races. Toni Morrison utilized the awkwardness of the two women’s gatherings combined together with the words spoken by the ladies to portray the perplexity of race throughout the

Irene and Brian’s marriage symbolized the different roles of women and men in their home. Although she told Clare that she had all the things she wanted and that did not need to ‘pass’ as white, Irene still struggled with her marriage and the control

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

Irene is in an all but loveless marriage with a husband who seems to be asexual at best and apathetic at worst. Her judgement is clouded by her own blind envy of the supposed life of Clare Kendry. Irene convinces herself after being absorbed into the whirlwind of Clare Kendy’s life that she is inferior to the white black-girl. She then convinces herself that her husband is having an affair with Clare, and that everyone knows about it so she must pretend not to know. This is all the culmination on a psychotic break that Irene has that ends with the unclear death of Mrs.Kendry (Larsen,113-114). Irene can be safely assumed to have pushed Clare out of the window due to a bizarre coloration envy that developed from Irene, the woman who passed as a form of getting a control high, and Clare, the girl who passed as a form of escapism and

This stated prejudice can be noted in a scene where Clare, Irene, and Gertrude are discussing the skin tones of their children. Clare addresses them, “No, I have no boys and I don’t think I’ll ever have any. I’m afraid. I nearly died of terror the whole nine months before Margery was born for fear that she might be dark. Thank goodness, she turned out alright. But I’ll never risk it again. Never! The strain was simply too–too hellish” (Larsen, 25). The extent to which the social stigma of the 1920s had tainted the views of Clare, though she is light-skinned, who is a black woman. She dreads over the thought of having a dark skinned child as if that would be the most despicable thing that could happen to her. Clare describes her African-American genetics as “hellish” and further speaks to the effects of colorism on black women. At this point, Clare is not only passing but she is denying her race in its entirety, making it out to be something wrong. Passing no longer exists as a social construct for African American social mobility, but rather a means for inhibiting any upward mobility through self-deprivation in regards to their culture and race.

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

replacement of stereotyped images of black womanhood with those that are self defined, 4) black women’s activism, and 5) sensitivity to black sexual politics. The first three themes correlate to black motherhood and living in a binary environment, one in which black people are the oppressed and white

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.

Both gender (woman) and race (black people) are affected because being a black person or a woman something you are born with is an insult. Being a woman in To Kill a Mockingbird was often associated as useless, while being a black person was often associated as a liar or criminal. In To Kill a

There are many racial components in this novel that are easy to point out. These take place in the American South and also in Africa. It starts with the way that all the black men and women are treated at the start of the book. The main character’s real father was a successful store owner who was black. This man was hanged for a reason that is known only as him being a successful black man. All the characters that we are introduced to in this book by Celie are exploited by the fact that they are black. Sophia is beat up and jailed for her refusal to want to work for a white women. Of course she stood up for herself and the white element tried to tell her where her place was. There is also an intra racial theme that starts at the beginning

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

Simone de Beauvoir focuses on women and their permanent otherness, women will always be this “other”. They are never the subject or absolute like man is. This constant oppression of women is different of others, women are not a minority, they are numerically almost equal to man and yet man has still been able to create dominance over them. Man is the superior, they are the absolute and women are the other. Oppositely, bell hooks and Patricia Williams speak on the inequality of minorities, specifically blacks. Racism and killing rage are heavily connected. Racism is strong and deep; it is the phantom in the room. Killing rage is a rage that is felt after constant unjust treatment, it is a rage that is healing. This killing rage should be viewed as a passion for freedom. I think a passion for freedom should be the forefront change. This passion for freedom can be connected to each author. A passion for freedom can aid in changing the permanent otherness women have faced and continue to face. Otherness is expressed through inequalities in pay and the way women are viewed. Simone de Beauvoir’s text brought up important and relevant inequalities women and minorities face. Patricia Williams text focusing on the inequality blacks face is relevant and important. Again a passion for freedom from oppression and inequality should be expressed. By Patricia Williams continually

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.

The Bluest Eye concentrates on the key contemporary American issues: racial and sexual politics. More distinctly, the novel centres on the impact that socially constructed views of race have on gender relations within the black community. As Butler-Evans highlights, “race rather than gender had become the overriding sign for the oppression of black people” and Morrison’s novel responds to this political issue by focusing on this in correlation with the Eurocentric society setting of the novel. The racial oppression suffered by the black community shape ideas of black masculinity based on male feelings of inferiority and consequent sexual oppression of black females. Morrison systematically explores the relationship between the racial oppression of black males and sexual oppression of black females. The main focus of this essay will be an exploration of how racial oppression experienced by black males, specifically Cholly and Junior, relate to the sexual oppression they enforce on black females.