In the novella, Passing, Nella Larsen portrays the multifaceted struggles an African-American woman must delicately balance in order to survive in society in the 1920’s through the character of Irene Redfield. When Irene and her childhood acquaintance Clare Kendry happen upon each other at a restaurant in Chicago, they are both “passing” for white women. It quickly becomes clear that Clare has been living as a white woman, while Irene utilizes her ability to pass exclusively when she needs to - a point of pride for her. This choice connects to her choice to support Clare, because it is impossible to support Clare in her endeavors, to support Clare in her double life and her marriage to a racist, without feeling guilt and responsibility for
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Her new insecurity and fear that Clare is having an affair with Brian stirs an innate human desperation within Irene to prove that she is both the brains and the beauty that she believes Clare is not. Irene coyly raises “dark innocent eyes to [Hugh’s] concerned pale ones”(94). The contrast between their eye colors is significant because Irene speaking in such a manner to a white man is a risky, Clare-esque move. She boldly refers to his ancestors as Confederates and playfully changes the word “subway” to “underground”, a small distinction as if to show her worldliness, to assert herself as a member of a more educated class. The simultaneous use of her looks and her wit to charm Hugh seem almost a nod to Clare, to show her that if Irene desired Clare’s way life, she could have it and more. Irene’s anger is accentuated by the wordplay on the “hoary” history of the teacup, so evidently meant to symbolize Clare herself. In the context of the teacup, hoary describes it’s grayish-white hue. When when the hoary cup is a symbol for the woman, it’s homonym “whore” may be implied, defined as someone who sells oneself, maybe sells oneself out for gain, or one who commits adultery with another’s husband. “Rage boiled in her (93)”, and her mind goes blank as she shatters the cup, thinking only about the “dark stains [that] dotted the bright rug” (94). When Irene says “I had an inspiration. I had only to break it, and I was rid of it for ever. So simple! And I’d never thought of it before (94). This is, arguably too much, foreshadowing and a confession of premonition to Clare’s murder. In the following chapter, Clare Kendry is gone, along with the “beauty that had torn at Irene’s placid life (111)”. Immediately after Clare falls six stories to her death, the first words come from Irene’s perspective, “Irene wasn’t sorry. (111)”, she is unable to shake
Her new insecurity and fear that Clare is having an affair with Brian stirs an innate human desperation within Irene to prove that she is both the brains and the beauty that she believes Clare is not. Irene coyly raises “dark innocent eyes to [Hugh’s] concerned pale ones”(94). The contrast between their eye colors is significant because Irene speaking in such a manner to a white man is a risky, Clare-esque move. She boldly refers to his ancestors as Confederates and playfully changes the word “subway” to “underground”, a small distinction as if to show her worldliness, to assert herself as a member of a more educated class. The simultaneous use of her looks and her wit to charm Hugh seem almost a nod to Clare, to show her that if Irene desired Clare’s way life, she could have it and more. Irene’s anger is accentuated by the wordplay on the “hoary” history of the teacup, so evidently meant to symbolize Clare herself. In the context of the teacup, hoary describes it’s grayish-white hue. When when the hoary cup is a symbol for the woman, it’s homonym “whore” may be implied, defined as someone who sells oneself, maybe sells oneself out for gain, or one who commits adultery with another’s husband. “Rage boiled in her (93)”, and her mind goes blank as she shatters the cup, thinking only about the “dark stains [that] dotted the bright rug” (94). When Irene says “I had an inspiration. I had only to break it, and I was rid of it for ever. So simple! And I’d never thought of it before (94). This is, arguably too much, foreshadowing and a confession of premonition to Clare’s murder. In the following chapter, Clare Kendry is gone, along with the “beauty that had torn at Irene’s placid life (111)”. Immediately after Clare falls six stories to her death, the first words come from Irene’s perspective, “Irene wasn’t sorry. (111)”, she is unable to shake