Passing in Terms of Attraction and Sexuality: A Character Study on Irene as a Queer Woman of Colour in the Nineteenth Century

By Milada Dzevitski

Although society can force someone to suppress their attraction and love, both hold substantial influence on one’s desires and actions towards forming their identity. Nella Larsen’s novel Passing discusses different variations of the idea for ‘passing’: individuals who fit within a liminal space between their appearances and reality and choose which side aids them best based on their standing within society. Considering this novel is set in the twenties, queerness, more specifically, same-sex attraction, was unfortunately not as accepted as it is today. When looking closer at one of the main characters, Irene, and her thoughts as portrayed through the story’s narration, there seems to be more to Irene than meets the eye, and she partakes in ‘passing.’ Appearance-wise, she acts as an ideal wife to her husband and mother to her son, but in reality, Irene seems to have a strong attraction to Clare yet strives to suppress it, fearing that someone would discover these feelings. Therefore, this paper will analyze how Irene appears to the public, in contrast to her actual thoughts towards Clare, as well as how societal standards push her beyond extremes to hide these emotions. Although Irene’s sexuality is not confirmed in the book, Irene can fit within this liminal space for ‘passing’ in how she tries to fit the image of a woman in the twenties. She follows toxic gender stereotypes as a means to keep her space in her community, rather than allowing herself to be who she is and love who she loves. 

            Married to Brian, Irene appears to conform to the gender stereotypes for women, as she is a rather conservative character yet a caring one who is dedicated to her family. Throughout Passing, she strives to please her husband by acting more submissive; she allows her husband to be the head of the family, as a wife is expected to be for those times. Adhering to stereotypes, Irene allows “her husband [to silence] her.” (99), letting him take the lead on conversation, allowing her voice to be suppressed by him. Additionally, in the bigger picture, she chooses to stay married to Brian. In fact, there isn’t even one time where there is a romantic interaction between the two, suggesting a nonexistent attraction. She even states, “[Brian is] her husband and the father of her sons. But [is] he anything more?” (201). Being with Brian, though, provides her with security: something she cherishes more than others due to the already little respect she gains as an African American in New York. In terms of being uptight, she seems to be more uncomfortable in regard to discussions surrounding sex: “I’m terribly afraid [our son’s] picked up some queer ideas about things […] dreadful jokes [about sex].” (104-105), trying to suggest to her husband that such topics, around sex, should be avoided. This acts as a self-reflection, as Irene herself avoids the same subjects as a means to conform to proper behavior outlined by society and to continue to pretend to be a person she isn’t, to ‘pass’ for another. 

            Although Irene strives to conform to societal standards as the perfect housewife, she admires Clare and her beauty. From the beginning, when Irene reads the letter Clare sent to her, there is an indication that she sees her as more than a friend. Clare wrote to her, “…For I am lonely […] cannot help longing to be with you again, as I have never longer for anything before […]” (8), to which, after reading “[b]rillant red patches flamed in Irene Redfield’s warm olive cheeks” (8). The entire time Irene describes Clare rather romantically; for instance, when she looks back on her memories of Clare, she hones in on her appearance: “her lips pressed together, her thin arms folded across her narrow chest […]” (6). Irene is never seen describing another character like so, being so infatuated with their physical appearance; she suggests this romantic attraction she has for Clare. It is also essential to note that Irene feels the need to keep her love for Clare a secret. Brian questions Irene about meeting with her again, “You’re not […] going to see her?” (94) after she vents to him about her but proceeds to go see her despite suggesting to him that she wouldn’t. Irene is seen trying to bury any relations with Clare by demonstrating this strong anger for her, suggesting that she behaves this way in front of others from the fear that her attraction to Clare will be revealed. Any doubts of Irene liking her would be defeated with the simple concept of her ‘despising’ Clare, showing one of Irene’s efforts to ‘pass’ to the public as heterosexual. By doing so, it also encourages internalized misogyny, something society thrives on; she’s more likely to conform to societal standards and to not push away any social liberal agendas.  

Other than putting on a show for others, Irene strives to erase these emotions she has for Clare, “[Irene] dropped Clare out of her mind and turned her thoughts to her own affairs. To home, to the boys to Brain” (83). She is hopeful that she can change herself before the feelings become too strong and force her to rebel against the stereotypes set by society. Wishing to ‘pass’ for fitting into the gender stereotype for women, to be a perfect housewife and mother, and to be heterosexual, by sadly suppressing her true desires and replacing them with what she is expected to think of: her family and her home. The feelings are still present, as they naturally would be. but these toxic standards push Irene to great lengths, to the point of killing Clare, symbolically attempting to kill the very source of her emotions. In the moment, Irene even says, “Gone! The soft white face, the bright hair, the disturbing smile, and the whole torturing loveliness that had been Clare […]” (209). Irene once again speaks on how she is entranced by Clare and grieves her. She deals with the mixed feelings of being heartbroken and the forced concept that she is freed by it. In contrast, the second feeling is corrupted by the still existent love for her, proving once again that this is who she is and how she loves. 

Throughout this entire journey, at the core of Irene’s desires is “[s]he wanted only to be tranquil” (200), and provided with the society she lived in, she was forced to choose either being true to herself with Clare or this tranquility but in an unloving relationship. With the murder of Clare, she makes the decision to prioritize her image, to ‘pass’ in order to hold onto her place within her community. Furthermore, she is isolated even more based on her race, due to the fact that people like Clare’s husband are creating more motivation to culturally assimilate herself. Jack sees people of different colors as lesser and uses this terrible belief to create a divide filled with hatred. He openly states, “I don’t dislike [African Americans], I hate them.” (69). Additionally, accompanied by the limited number of characters and the era they are in, it would be fair to state that many white people thought and acted this way and held positions of power where they implemented these beliefs into the system and society. Moreover, she is also seen to be a more conservative individual, and she could see her love for Clare as a sin. With this all in mind, Irene murdered Clare as a means of survival. Firstly, she isn’t in a space where she is welcomed, purely based on her race. She had to work extremely hard to live the life she lives currently, if it was common knowledge that she was attracted to Clare and, in a broader perspective, women, she would suffer further. 

In conclusion, Irene is caught in this liminal space of acting as one would as a female during the twenties, considering gender stereotypes, but deep down she does not identify with it. She loves Clare and is extremely attracted to her; Irene speaks of her passionately. Even though Irene’s sexuality is not stated, based on her constant attraction to Clare and lack thereof towards Brian, she would fit within the LGBTQ+ community. However, knowing the society she lives in, this would not be accepted. In the position she already is with the discrimination, she aims to ‘pass’ for being a heterosexual female who is married with children, as expected by the standards set by society. She does not want to subject herself to further discrimination by outing herself as homosexual, and this need for survival, to be someone else, drives Irene to extremes, to the point she kills Clare as a way of killing her feelings for her as well. In all, Passing by Nella Larsen brings attention to the dangers of these toxic expectations, how they suppress people, and how they force them to give up their happiness and, in this case, their love, culturally assimilating with the intention of being finally accepted.

Work Cited: Larsen, Nell. Passing. Alfred A. Knopf, 1928.