Overview

First published to critical acclaim in 1929, Passing firmly established Nella Larsen's prominence among women writers of the Harlem Renaissance. The Modern Library is proud to present Passing—an electrifying story of two women who cross the color line in 1920s New York—together with a new Introduction by the Obie Award- winning playwright and novelist Ntozake Shange.

Irene Redfield, the novel's protagonist, is a woman with an enviable life. ...
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Passing

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Overview

First published to critical acclaim in 1929, Passing firmly established Nella Larsen's prominence among women writers of the Harlem Renaissance. The Modern Library is proud to present Passing—an electrifying story of two women who cross the color line in 1920s New York—together with a new Introduction by the Obie Award- winning playwright and novelist Ntozake Shange.

Irene Redfield, the novel's protagonist, is a woman with an enviable life. She and her husband, Brian, a prominent physician, share a comfortable Harlem town house with their sons. Her work arranging charity balls that gather Harlem's elite creates a sense of purpose and respectability for Irene. But her hold on this world begins to slip the day she encounters Clare Kendry, a childhood friend with whom she had lost touch. Clare—light-skinned, beautiful, and charming—tells Irene how, after her father's death, she left behind the black neighborhood of her adolescence and began passing for white, hiding her true identity from everyone, including her racist husband. As Clare begins inserting herself into Irene's life, Irene is thrown into a panic, terrified of the consequences of Clare's dangerous behavior. And when Clare witnesses the vibrancy and energy of the community she left behind, her burning desire to come back threatens to shatter her careful deception.

Brilliantly plotted and elegantly written, Passing offers a gripping psychological portrait of emotional extremity. The New York Times Book Review called Larsen "adroit at tracing the involved processes of a mind divided against itself, that fights between the dictates of reason and desire." The Saturday Review of Literature said, "[Larsen] has produced a work so fine, sensitive, and distinguished that it rises above race categories and becomes that rare object, a good novel."


From the Trade Paperback edition.
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Editorial Reviews

Richard Bernstein
...the genius of this book is that its protagonists, especially its Anna Karenina-like central figure, Irene Redfield, are complex and fully realized and individually responsible as well. Larsen's treatment of race in this sense was both candid and tough-minded. She understood the power of its impact, but she never let her characters escape from the weight of their choices.
New York Times
From the Publisher
“A work so fine, sensitive, and distinguished that it rises above race categories and becomes that rare object, a good novel.” —Saturday Review of Literature
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Product Details

  • ISBN-13: 9780307431585
  • Publisher: Random House Publishing Group
  • Publication date: 12/18/2007
  • Series: Modern Library Classics
  • Sold by: Random House
  • Format: eBook
  • Pages: 304
  • Sales rank: 292,660
  • File size: 400 KB

Meet the Author


Nella Larsen (1891-1964) was the author of two novels and several short stories. She received a Guggenheim fellowship to write a third novel in 1930 but, unable to find a publisher for it, she disappeared from the literary scene and worked as a nurse.


Thadious M. Davis is G. C. Vanderbilt Professor of English at Vanderbilt University, the author of an acclaimed biography of Nella Larsen, and the editor of Larsen’s Quicksand for Penguin Classics.




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Read an Excerpt

It was the last letter in Irene Redfield's little pile of morning mail. After her other ordinary and clearly directed letters the long envelope of thin Italian paper with its almost illegible scrawl seemed out of place and alien. And there was, too, something mysterious and slightly furtive about it. A thin sly thing which bore no return address to betray the sender. Not that she hadn't immediately known who its sender was. Some two years ago she had one very like it in outward appearance. Furtive, but yet in some peculiar, determined way a little flaunting. Purple ink. Foreign paper of extraordinary size.

It had been, Irene noted, postmarked in New York the day before. Her brows came together in a tiny frown. The frown, however, was more from perplexity than from annoyance; though there was in her thoughts an element of both. She was wholly unable to comprehend such an attitude towards danger as she was sure the letter's contents would reveal; and she disliked the idea of opening and reading it.

This, she reflected, was of a piece with all that she knew of Clare Kendry. Stepping always on the edge of danger. Always aware, but not drawing back or turning aside. Certainly not because of any alarms or feeling of outrage on the part of others.

And for a swift moment Irene Redfield seemed to see a pale small girl sitting on a ragged blue sofa, sewing pieces of bright red cloth together, while her drunken father, a tall, powerfully built man, raged threateningly up and down the shabby room, bellowing curses and making spasmodic lunges at her which were not the less frightening because they were, for the most part, ineffectual. Sometimes he did manage to reach her. But only the fact that the child had edged herself and her poor sewing over to the farthermost corner of the sofa suggested that she was in any way perturbed by this menace to herself and her work.

Clare had known well enough that it was unsafe to take a portion of the dollar that was her weekly wage for the doing of many errands for the dressmaker who lived on the top floor of the building of which Bob Kendry was janitor. But that knowledge had not deterred her. She wanted to go to her Sunday school's picnic, and she had made up her mind to wear a new dress. So, in spite of certain unpleasantness and possible danger, she had taken the money to buy the material for that pathetic little red frock.

There had been, even in those days, nothing sacrificial in Clare Kendry's idea of life, no allegiance beyond her own immediate desire. She was selfish, and cold, and hard. And yet she had, too, a strange capacity of transforming warmth and passion, verging sometimes almost on theatrical heroics.

Irene, who was a year or more older than Clare, remembered the day that Bob Kendry had been brought home dead, killed in a silly saloon-fight. Clare, who was at that time a scant fifteen years old, had just stood there with her lips pressed together, her thin arms folded across her narrow chest, staring down at the familiar pasty-white face of her parent with a sort of disdain in her slanting black eyes. For a very long time she had stood like that, silent and staring. Then, quite suddenly, she had given way to a torrent of weeping, swaying her thin body, tearing at her bright hair, and stamping her small feet. The outburst had ceased as suddenly as it had begun. She glanced quickly about the bare room, taking everyone in, even the two policemen, in a sharp look of flashing scorn. And, in the next instant, she had turned and vanished through the door.

Seen across the long stretch of years, the thing had more the appearance of an outpouring of pent-up fury than of an overflow of grief for her dead father; though she had been, Irene admitted, fond enough of him in her own rather catlike way.

Catlike. Certainly that was the word which best described Clare Kendry, if any single word could describe her. Sometimes she was hard and apparently without feeling at all; sometimes she was affectionate and rashly impulsive. And there was about her an amazing soft malice, hidden well away until provoked. Then she was capable of scratching, and very effectively too. Or, driven to anger, she would fight with a ferocity and impetuousness that disregarded or forgot any danger; superior strength, numbers, or other unfavorable circumstances. How savagely she had clawed those boys the day they had hooted her parent and sung a derisive rhyme, of their own composing, which pointed out certain eccentricities in his careening gait! And how deliberately she had—Irene brought her thoughts back to the present, to the letter from Clare Kendry that she still held unopened in her hand. With a little feeling of apprehension, she very slowly cut the envelope, drew out the folded sheets, spread them, and began to read.


From the Hardcover edition.
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Table of Contents

Part 1 Encounter 1
Part 2 Re-encounter 37
Part 3 Finale 66
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Introduction

[Nella Larsen] offers characters so honest and desperate to be whole that we cannot help but champion their humanity.
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