Introduction: Bad Apple in Passing
The opening chapter of Nella Larsen’s novel, “Passing,” introduces readers to Clare Kendry, a complex and enigmatic character navigating the treacherous societal landscape of racial identity in 1920s Harlem. Clare’s bold act of passing as a white woman immediately establishes her as a “bad apple” within the narrative. This daring decision not only involves deceiving her own husband but also entails a profound self-deception. As readers are drawn into the intricacies of Clare’s world, the narrative illuminates the intricate dance she performs when hosting Irene and Gertrude at her home, revealing the layers of deception woven into her existence.
The irony of the situation unfolds as Clare, Gertrude, and Irene share a knowledge that is concealed from John, Clare’s husband. Despite the potential repercussions of being discovered, Clare fearlessly plays with the precarious boundary between truth and deception. This introductory scenario sets the stage for an exploration of the complex interplay between racial identity, societal expectations, and personal agency. Clare Kendry’s audacious behavior challenges conventional norms and propels the narrative into a nuanced exploration of the consequences of passing and the emotional turmoil that accompanies the intricate dance of secrets and revelations within her relationships.
First Rumor: Bad Apple in Passing
The initial rumors surrounding Clare Kendry in Nella Larsen’s “Passing” paint a vivid picture of her audacious venture into passing as a white woman. Witnesses claim to have seen her frequenting upscale hotels during the dinner hour in the company of white men and, on another occasion, in Lincoln Park with a man unmistakably white and evidently affluent (Larsen 60). These anecdotes unveil Clare as a daring individual who fearlessly navigates the societal boundaries of race, blurring the lines between her true identity and the facade she presents to the world. The fact that these rumors persist highlights Clare’s ability to maintain a connection with her racial background while simultaneously embracing the advantages afforded by passing as white.
An intriguing aspect of Clare’s character unfolds when John, her husband, playfully makes a joke about the trio’s racial differences. Despite the potentially incendiary nature of the comment, Clare remains emotionally composed, displaying a remarkable poker face in stark contrast to the palpable discomfort experienced by Irene and Gertrude. This indifference to the racial implications of John’s jest introduces a layer of complexity to Clare’s character, hinting at a strategic and calculated approach to her passing that goes beyond mere deception. This early interaction sets the stage for the nuanced exploration of Clare’s motives, shedding light on the intricate dynamics of her relationships and the intricate dance between truth and facade in the realm of racial identity.
Clare’s Behavior: Bad Apple in Passing
Gertrude and Irene find themselves both astonished and perplexed by Clare Kendry’s audacious behavior, as Nella Larsen explicitly portrays her in “Passing” as someone who boldly poses as a white woman. Larsen leaves no room for ambiguity in describing Clare’s actions, emphasizing her fearless embrace of a dual identity. The confidence with which Clare engages in passing is highlighted through a striking dialogue she shares with her husband, John. In response to John’s hypothetical scenario questioning the revelation of her being “one or two per cent coloured,” Clare retorts, “My goodness, Jack! What difference would it make if, after all these years, you were to find out that I was one or two per cent coloured?” (80). This bold assertion not only showcases Clare’s unwavering commitment to maintaining her deceptive identity but also underscores her calculated approach to navigating the complexities of racial identity within her marriage.
Larsen’s depiction of Clare as a “bad apple” among Gertrude and Irene becomes evident through the stark contrast in their reactions to Clare’s actions. While Gertrude and Irene grapple with the implications of passing and the societal norms surrounding racial identity, Clare appears unapologetic and even provocative in her bold assertion of a dual heritage. The tension in the narrative arises from Clare’s willingness to challenge conventional norms, positioning her as a character whose actions elicit both fascination and moral ambiguity from those in her social circle. The description of Clare Kendry as a “bad apple” sets the stage for a deeper exploration of her motivations, choices, and the consequences of her audacious approach to navigating the delicate terrain of racial identity in 1920s Harlem.
“I nearly died of terror the whole nine months before Margery was born for fear she might be…Thank goodness she turned out all right…I’ll never risk it again. Never!”
In the third chapter of Nella Larsen’s “Passing,” a pivotal conversation unfolds between Clare Kendry and her colored friends, Gertrude and Irene. Clare opens up about the anxieties and complexities woven into her marriage, shedding light on the intricacies of her passing as a white woman. As she discusses her experiences, particularly during her pregnancy with her daughter Margery, Clare reveals the profound fears that gripped her. She confides in Gertrude and Irene that she dreaded the possibility of her daughter being born black, a revelation that could shatter the carefully constructed facade of her passing and potentially lead to the dissolution of her marriage with John.
The narrative tension peaks as Clare shares the relief she experienced when Margery turned out to resemble her white father, ensuring that her passing remained undiscovered. This revelation exposes the delicate tightrope Clare walks between the two worlds and the high stakes involved in maintaining her dual identity. The fear of potential discovery becomes a driving force in Clare’s decisions, as she declares her determination not to risk pregnancy again. This decision unveils the inherent challenges and sacrifices she willingly embraces to safeguard her passing, adding a layer of emotional depth to Clare’s character and further complicating the intricate dance of secrets and identity within the novel.
Works Cited: Bad Apple in Passing
Larson, Nella. Passing. New York: The Modern Library. 2009.
Relevant Questions: Bad Apple in Passing
- How does Clare Kendry’s audacious behavior, as depicted in Nella Larsen’s “Passing,” challenge and subvert societal norms of racial identity during the 1920s, and what does her role as a “bad apple” in Passing signify within the context of the novel?
- In the third chapter, Clare discusses her anxieties regarding her daughter Margery potentially being born black and the consequences of such a revelation. How does this revelation shed light on the complexities and emotional toll of Clare’s passing, and what does it reveal about her motivations and fears?
- The term “bad apple” is used to describe Clare Kendry in the narrative. In what ways does Clare’s behavior deviate from the societal expectations of a woman of her time, both in terms of racial identity and societal roles? How does this label influence the interactions and perceptions of other characters in the novel?
