| Title | : | Plum Bun: A Novel Without a Moral |
| Author | : | |
| Rating | : | |
| ISBN | : | - |
| Language | : | English |
| Format Type | : | Audible Audio |
| Number of Pages | : | 6 |
| Publication | : | First published January 1, 1929 |
Written in 1929 at the height of the Harlem Renaissance by one of the movement's most important and prolific authors, 'PLUM BUN' is the story of Angela Murray, a young Black girl who discovers she can pass for white. After the death of her parents, Angela moves to New York to escape the racism she believes is her only obstacle to opportunity. What she soon discovers is that being a woman has its own burdens that don't fade with the color of one's skin, and that love and marriage might not offer her salvation.
©2017 Jessie Redmon Fauset, Morgan Jerkins (P)2021 Beacon Press
Plum Bun: A Novel Without a Moral Reviews
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What if
Sister Carrie were black? ish? Harlem Renaissance author Jessie Redmon Fauset reminds me of no one more than Theodore Dreiser. Both are concerned with single women trying to make it on their own terms, and neither is particularly skilled at writing. Dreiser is better - more powerful in the end, less susceptible to Victorian plot twists, and less moralistic - but this is good.
Weird to say moralistic, given that Plum Bun advertises its lack of moral in the title, but the title is a lie: there are morals galore here, about pride in ancestry and the importance of family and proper behavior and what have you, and they're not subtle.
She began to see the conventions, the rules that govern life, in a new light; she realized suddenly that for all their granite-like coldness and precision they also represented fundamental facts; a sort of concentrated compendium of the art of living and therefore as much to be observed and respected as warm, vital impulses.
Maybe I should be comparing her to Jane Austen.
Passing, which is where a light-skinned black person decides to define herself as white, was of vivid interest to the Harlem Renaissance writers. It shows up in Nella Larsen's terrific
Passing, the best treatment of it; it's also covered satirically in George Schuyler's
Black No More, and awkwardly in
Jean Toomer's actual life. We don't talk about it so much anymore. Both black and white people find it...what, gauche? I don't know. The last time I heard about passing was when Rachel Dolezal tried a reverse pass. (That's the woman who was head of the NAACP until her Caucasian parents released a statement like, hey, btw, let's make Thanksgiving awkward.) Given its frequent discussion a century ago, I would assume that many black people made this decision at some point previous, and now it's in the past, their families have been white for generations. Suck it racists, I guess?
We're still stuck on the idea that a drop of black blood makes one black, which is sortof weird and ugly. What if a person of mixed race, like Barack Obama, just declared that he was white? Why shouldn't he? The very definition of passing sucks.
Anyway, that's what Plum Bun is about. Fauset, who had siblings who could pass, is against it. Her protagonist, Angela Murray, This is all handled adequately well.
Plum Bun is at its best, though, describing loneliness. Here too there may be autobiographical elements: like Angela, Fauset moved alone to Harlem, and the poignancy of her description of loneliness in New York City feels very real. I loved these parts of the book.Loneliness! Loneliness such as that offered by the great, noisy city could never be imagined. To realize it one would have to experience it.
They're not enough to make me love the whole thing, which totters into Victorian melodrama at a certain point and then proceeds to drown in it. Angela's sister Virginia
E.B. White opens
Here is New York with what could be the epigram to this book:
On any person who desires such queer prizes, New York will bestow the gift of loneliness and the gift of privacy.
Angela uses the privacy to reinvent herself, but she ends up realizing that you can't have one without the other. The book is about that choice: both or neither. -
Overly erudite. Corny ending. Nothing much really happens in the book. In short, I enjoyed it!! An anthropological treasure. Its like a time capsule with this young, black, female author struggling for attention and respect both as a woman and as a negro. I am not describing the plot of the book, I'm stating my perception of how the author came across to me in the telling of the story. The story itself was not that complex. A coming of age story of a young woman in the 1920s who attempted to pass and found out she'd rather be who she was. Her journey was the story. Simply fascinating.
Almost 3.5 stars -
Written at the height of the Harlem Renaissance, this is one of those novels that isn't nearly as widely read as it should be. Fauset's novel is so readable as to often seem casual, but the heart of the story is a detailing of psychology related to racism, sexism, and the question/process of "passing". By focusing on a young African American girl who wants nothing more than to be a free woman and artist, Fauset tracks her young protragonist through Philadelphia and then New York with a constant eye toward the politics of her life. Because the focus of the novel is on the personal psychology of characters, as opposed to larger politics affecting society, the book and protagonist might come across as deceptively simple, or even selfish. Instead, the novel works to provide a picture of simple, and even realistic, survival.
In the end, Fauset's subtitle, "a novel without a moral", is both important and careful. As prolific and involved as Fauset was during the Harlem Renaissance, there's no question that this work is never without thought, but it is also incredibly engaging and readable, maybe so much so that its very readability has allowed it to be overlooked when we look back at the serious literature of its time. Plum Bun: A Novel WIthout a Moral is, though, a pointed critique of anyone who would attempt to call "passing" a simple matter of morality, pride, or confidence--it is a serious work of fiction, worth reading and considering, that sheds real light onto race and gender politics of the early twentieth century.
Simply, this may be a book you haven't heard of...but it shouldn't be.
Absolutely recommended. -
This book feels so modern and fresh that, if it wasn't for the cool-girl-from-the-1920's writing style, I'd say it was published today. The characters are all amazingly layered, their relationships compelling, and the whole narrative had a movie-like aspect to it that it makes me sad that we're unlikely to see an adaptation any time soon. The last third of the book also had the twists and turns you'd see in a Brazilian telenovela, which is delightful considering , and by the end I was grinning so much that I even felt a little bit silly. Loved it!
-
Worth a read. I enjoyed
Nella Larson's telling of the same story better in
Passing and
Quicksand.
4 out of 5 -
3.5*
-
IQ "I don't mind a man's not marrying me; but I can't forgive him if he thinks I'm not good enough to marry him. [...]It's wrong for men to have both money and power; they're bound to make some woman suffer" Paulette, 128
Obviously this novel was going to discuss race and the emotional as well logistical complexities of a Black person passing for white but I was also pleased that it touched on male privilege and sexism. It also has very independent female characters who have *gasp* casual sex and a few nods at homosexuality which was not something I expected for a novel written in 1929. I love how fearless this novel was for its time. There is outright disapproval of Angela passing but her sister Jinny tries to look at it from both sides which keeps the novel from sounding like it's trying to impart a lesson; "And each of us will have go her chosen way. After all each of us is seeking to get all she can out of life! and if you can get more out of it by being white, as you undoubtedly can, why, why shouldn't you? Only it seems to me there are certain things in living that are more fundamental even than color,-but I don't know. I'm all mixed up", she continues "After all in a negative way, merely by saying nothing, you're a disclaiming your black blood in a country where it is an inconvenience,-oh! there's not a doubt about that. You may be proud of it, you may be perfectly satisfied with it-I am-but it certainly can shut you out of things. So why shouldn't you disclaim a living manifestation of that blood?" (171). The perfect mixture of disapproval with sisterly love and attempt at understanding.
The novel also manages to get across its social causes in a subtle manner, for example, presenting a look at the Black middle class which was still extremely rare. Furthermore the author has clearly thought out every aspect of the novel. It is divided into five sections, each starting with a line from the poem that the title derives from. A bildungsroman that deftly employs the marriage plot and also uses passing to discuss power dynamics. I quite enjoyed watching Angela flounder around a bit and eventually grow. I wish schools would require this be read side-by-side with Passing, these two novels are far too often over looked and I think they give a great glimpse into Black lives in the early 20th century/the writers of the Harlem Renaissance. -
This novel was published almost 90 years ago, and as such the language and writing style took a bit of getting used to for me. At first I was like, “I’ll try to make it through 50 pages a day…” but actually, once I got into it (by the end of the first section), I was hooked and I gobbled it up in two days.
I really like the story in this book, and even though the ending seems , I thought it was all really-well executed.
Besides the story, the issues Fauset explores with the book are really important. The major plot device and one of the main themes in the book is passing, but Fauset also deals with gender roles, family, male/female love relationships, the individual vs. the group, coming of age, and of course race. Sometimes it is explicit and sometimes the angle is more subtle, but it always seems to “fit” very well into the narrative and the style.
It’s this month’s book at Literary Fiction by People of Color and it’s shaping up to be a good discussion. -
I read a page and a half and that was way too much. The pedantic, overly Latinate prose turned me off— to put it mildly. I get why some African-American writers of the era might have wanted to imitate such mediocre white styles, but...no thanks, I’m good.
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I loved this novel. It’s a classic that I’d been wanting to read for ages. But it wasn’t exactly easy to find, and they didn’t have it in my local library.
Written in the 20s, it’s a clear picture of life for a woman in NYC, on both sides of the color line. The main character, Angela Murray, grows up in Philadelphia as a very light-skinned African American, and she learns about passing from her equally light-skinned mother. For her mother, it’s a little game that involves tea and shopping, not a serious path. But Angela feels the limitations of her racial heritage more acutely, and when she gets older, she resolves to doff her black identity completely. She goes to New York City, and not long afterwards, her darker-skinned sister Virginia follows her there.
The novel’s subtitle is “a novel without a moral” and this is one of the things I loved most about it. The author doesn’t pass judgment on any of her character’s choices, but rather very subtly shows the effects, both psychological and social.
There are a lot of interesting characters here, all carefully and vividly drawn. Even the racists in the novel are depicted in all their complexity, as whole people. Racism is shown as a kind of toxic social fungus which infects and affects people to a greater or lesser extent. The people in the novel use different strategies to avoid or contain it, and these are explored in detail. When is it worthwhile to fight, and when do you just slough it off? For Angela, occupying that edge between black and white, there are constant subtle reminders. Meanwhile, for the white people, awareness and responses to racism comprise moral crossroads.
A couple of times, the question of whether white blood is itself toxic is raised, but the author makes no judgments. She lets her characters ask the questions and try to live the answers, as best they can.
New York City in the 20s is depicted with great skill and vividness, which figures, since Jessie Redmon Fauset was an important figure in the Harlem Renaissance. All the descriptions in this book are very visual, and this also makes sense, since Angela, the main character, is an artist. It’s also a wonderfully feminist book, since Angela is thrust into a social marketplace where women are bought and sold – not literally, but in essence. She has to learn to value herself and the work she does. In this way, the book reminds me of novels by Edith Wharton which explore a woman’s longing for freedom within rigid social hierarchies.
And it’s also a page-turner, especially the second half. I enjoy a good romance, as long as it’s well-written, intelligent, and fair to women. This is a good novel in many other ways, but it’s also a riveting romance.
After I finished it, I spent some time wondering where the title came from, but a Wikipedia page explained it to me. -
Plum Bun was my challenge book of the year. I started reading it 2 years ago and it has been stop & start up until the last week or so. The writing isn't bad, the storyline is intriguing, though I didn't appreciate it until the last third of the book.
Plum Bun is about passing, but there's more to it. Angela grew up with a mother that could pass and this was done occasionally. I don't think it was because their life was particularly hard, but maybe more because at the turn of the 20th century white people controlled everything. Angela moves to New York and passes as a white art student. Her goal may have been security and comfort, but what price is too high?
The story's ending is a neat and near perfect with Angela finding exactly what she searched for. I think that's where the subtitle fits, "novel without a moral" because in the end Angela didn't lose anything by passing as white. It was a lesson in which she ultimately learned self acceptance- "colored" not white and to cherish family and friends. -
'Now be practical, [Virginia]; after all, I am both white and Negro and look white. Why shouldn't I declare for the one that brings me the greatest happiness, prosperity, and respect?'
The primary concern of Jessie Redmon Fauset's 'Plum Bun' rests on this very question.
This novel has an irresistible charm—its character's are affable and its story lovable. In this 'novel without a moral' we follow Angela Murray as she comes of age in a systematically racist America as she lives on both sides of the color line. Angela is what is known as 'passing for white'—when she realizes this, Angela believes that the only way to escape the tired old conversations on race and the limitations which majority white society places on the advancement of blacks, is to up-sticks and head to New York City, to reinvent herself (as so many New Yorkers do) as a white girl named 'Angele Mory'. Angela believes that this is only right, for she is owed an opportunity for a life of affluence and the finer things, what in her eyes amount to happiness. She soon finds, however, that happiness is much a more complicated thing... Angela is not a 'bad' person, just immature, and I think Fauset is very good at making sure the reader doesn't come to this conclusion.
There's something a whiff ironic about Angela's search for what she deems happiness in that Angela comes from a very happy family. Her parents (a black father and 'passing' mother) are truly in love and have done everything imaginable for their children's comfort and safety in order to spare them from the immense hardship they themselves had to overcome in their lifetime. Yet, Angela knows that her racial background denies her pleasantries and is rightly frustrated by this. This very fact is made apparent in heartbreaking scenes where Angela's father must pose as her mother's chauffeur in order to receive her from the hospital, or when in a moment of weakness, Angela and her mother pretend not to recognize their very own husband and father in the street while on a shopping spree in the city while together passing for white—it is on these very shopping sprees where Angela cultivates a very reductive, materialist vision of what happiness is. For Angela it can only be a life of luxury, without the worries and cares of place, race, and roots. She wishes to live a life of unfettered agency.
Virginia, Angela's sister, is bound by her darker skin to identify as black, and so comes to different conclusions as to what makes a happy life since she would never be let into the establishments where Angela and her mother shop in the first place. She quickly becomes acquainted with, and builds off of her limitations and lives a far richer life in New York as a result. While Angela's life is defined by money, empty social niceties, and denial of one's past (all elements to Angela's day-to-day existence embodied by her fraught relationship with Robert), Virginia is able to live a vibrant life of the mind in Harlem which runs in concert with her past. This contrast between the lives of Angela and Virginia reaches a twin climax first at the dinner party with Margaret, and second, at the Van Meier lecture in Harlem.
Angela's 'people' are of a white artistic persuasion. Their whiteness is paramount to understanding their point of view, for it is the point of view of one's point of view being taken as granted... that is, as heard by the majority. It is the difference between one who speaks with the authority of one who is used to being heard, and one who must articulate their self, or perish. They are a 'political' group, professedly concerned with the rights of humankind. And yet, even Angela senses their limitations of these seemingly limitless agents...
'And again it seemed to her that they represented an almost alarmingly unnecessary class. If any great social cataclysm were to happen they would surely be first to be swept out of the running. Only real people could survive.'
This thought reaches maturity at the Van Meier lecture, where the arresting black orator calls upon the race to draw pride and strength on their own terms, a call which would surely transcend the status symbols and social privileges of a white world which Angela holds so dear.
'It is neither courage, no, nor hate
That lets us do the things we do;
It's pride that bids the heart be great.'
This calling is beyond mere 'discursivity'—it is a fierce calling to those whose very lives are at stake, a calling by which Margaret and Ladislas' dinner party politics pales pathetically in comparison.
After two years of denial, lies, and failed friendships and relationships in New York, Angela's life lacks true social cohesion. She finds herself no better than when she arrived, just another lonely soul wandering crowded 14th street. It's in the depths of this loneliness that Angela learns to strive for the merits of a friendship based in love, belonging, and a pureness of heart.
And oh, geez, what a love story!!! OK, so the story has what you might call a typical happy ending... so what? Sometimes life is a happy, happy thing... it'll melt your heart, guaranteed... -
Plum Bun!! A Novel without a Moral!! An underappreciated masterpiece of the Harlem Renaissance. I adored the measured language, the dense psychology, and the melodrama. At times, the story is very sedate, ruminative. At other moments, I was wailing with anxiety! There is much to say about what makes this book incredible. I can't do it justice -- fortunately, there is a fascinating Afterword that expounds on its brilliance -- all I can say is that it made me scream and shout with the joy of discovery!!
-
dnf 50%
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This is such a remarkable novel from the Renaissance Era that is written so eloquently to model that time of history. This one brought several smiles to my face! After reading, this novel centers around Angela, a young African-American woman that is "passing" as white. My initial smile began from the title, "Plum Bum" because this is a pastry that we know now as a cinnamon roll. Back then, they were baked with dark colored dried fruits (raisins, etc). This novel will have your mind aroused with so many questions. Is this really a Novel without a Moral? This brought the second smile to my face. I gave so much thought to Angela's relationship with her mom, Mattie. Her actions seemed to influence Angela during her life. But, did her Mother honestly prepare her for the sincere lessons of Life? A very Delightful read!
-
3.5 starts. Loved the writing. This book was really engaging but slow in some parts of the story. For the first time ever, I can say k disliked a character which made me enjoy the boom even more. Angela or Angél grew up passing as white with her mother in Philadelphia. However living as a black female and enduring the injustices as a person of color, she decided to leave Philadelphia and move to NY where she would pass as white. What I hated about Angela which also drew me to want to read more was this insistent idea of having to be with a male, marriage. It appeared that many do the things she did was for the sake of man which really got me angry. There are a lot of surprises in the book which I loved. This is a must read.
-
Read for my Harlem Renaissance class. The marriage plot gets a little blah toward the end, but everything else about this book is so interesting - plot focused on a woman who is passing in NYC in the 1920s/30s, and the complications this creates for her romantic and familial relationships, also while trying to make it as a young artist. Fascinating!
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Uneven at times but nonetheless an immensely illuminating novel on race, color, and gender by a major writer of the Harlem Renaissance.
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** 3 stars **
Angela and Virginia are sisters that grow up in an African American family, but Angela is very light-skinned and can "pass" as white (Virginia cannot), which complicates their relationship as they grow older. Angela eventually makes her way to New York where she decides to start "passing" full-time, a decision that creates more problems than she'd bargained for, especially where her sister and her romantic relationships are concerned.
I enjoyed the thematic explorations of racial passing and white supremacy in this novel more than I enjoyed the actual characters or plot developments (which seemed too quickly and neatly resolved), but I would still recommend it if you are interested in less well-known Harlem Renaissance-era novels and/or depictions of racial passing in literature. -
'Now be practical, [Virginia]; after all, I am both white and Negro and look white. Why shouldn't I declare for the one that brings me the greatest happiness, prosperity, and respect?'
The primary concern of Jessie Redmon Fauset's 'Plum Bun' rests on this very question.
This novel has an irresistible charm—its character's are affable and its story lovable. In this 'novel without a moral' we follow Angela Murray as she comes of age in a systematically racist America as she lives on both sides of the color line. Angela is what is known as 'passing for white'—when she realizes this, Angela believes that the only way to escape the tired old conversations on race and the limitations which majority white society places on the advancement of blacks, is to up-sticks and head to New York City, to reinvent herself (as so many New Yorkers do) as a white girl named 'Angele Mory'. Angela believes that this is only right, for she is owed an opportunity for a life of affluence and the finer things, what in her eyes amount to happiness. She soon finds, however, that happiness is much a more complicated thing... Angela is not a 'bad' person, just immature, and I think Fauset is very good at making sure the reader doesn't come to this conclusion.
There's something a whiff ironic about Angela's search for what she deems happiness in that Angela comes from a very happy family. Her parents (a black father and 'passing' mother) are truly in love and have done everything imaginable for their children's comfort and safety in order to spare them from the immense hardship they themselves had to overcome in their lifetime. Yet, Angela knows that her racial background denies her pleasantries and is rightly frustrated by this. This very fact is made apparent in heartbreaking scenes where Angela's father must pose as her mother's chauffeur in order to receive her from the hospital, or when in a moment of weakness, Angela and her mother pretend not to recognize their very own husband and father in the street while on a shopping spree in the city while together passing for white—it is on these very shopping sprees where Angela cultivates a very reductive, materialist vision of what happiness is. For Angela it can only be a life of luxury, without the worries and cares of place, race, and roots. She wishes to live a life of unfettered agency.
Virginia, Angela's sister, is bound by her darker skin to identify as black, and so comes to different conclusions as to what makes a happy life since she would never be let into the establishments where Angela and her mother shop in the first place. She quickly becomes acquainted with, and builds off of her limitations and lives a far richer life in New York as a result. While Angela's life is defined by money, empty social niceties, and denial of one's past (all elements to Angela's day-to-day existence embodied by her fraught relationship with Robert), Virginia is able to live a vibrant life of the mind in Harlem which runs in concert with her past. This contrast between the lives of Angela and Virginia reaches a twin climax first at the dinner party with Margaret, and second, at the Van Meier lecture in Harlem.
Angela's 'people' are of a white artistic persuasion. Their whiteness is paramount to understanding their point of view, for it is the point of view of one's point of view being taken as granted... that is, as heard by the majority. It is the difference between one who speaks with the authority of one who is used to being heard, and one who must articulate their self, or perish. They are a 'political' group, professedly concerned with the rights of humankind. And yet, even Angela senses their limitations of these seemingly limitless agents...
'And again it seemed to her that they represented an almost alarmingly unnecessary class. If any great social cataclysm were to happen they would surely be first to be swept out of the running. Only real people could survive.'
This thought reaches maturity at the Van Meier lecture, where the arresting black orator calls upon the race to draw pride and strength on their own terms, a call which would surely transcend the status symbols and social privileges of a white world which Angela holds so dear.
'It is neither courage, no, nor hate
That lets us do the things we do;
It's pride that bids the heart be great.'
This calling is beyond mere 'discursivity'—it is a fierce calling to those whose very lives are at stake, a calling by which Margaret and Ladislas' dinner party politics pales pathetically in comparison.
After two years of denial, lies, and failed friendships and relationships in New York, Angela's life lacks true social cohesion. She finds herself no better than when she arrived, just another lonely soul wandering crowded 14th street. It's in the depths of this loneliness that Angela learns to strive for the merits of a friendship based in love, belonging, and a pureness of heart.
And oh, geez, what a love story!!! OK, so the story has what you might call a typical happy ending... so what? Sometimes life is a happy, happy thing... it'll melt your heart, guaranteed...
—AF -
First half of this novel is excellent, with wonderful detail, but second half gets bogged down by romantic melodrama. The men are rather dull compared to the complex Angela, which makes matters worse. But worth reading.
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A slow and beautiful story.
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Feminist Book Club - May 2023
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This is a hidden gem of a novel from the Harlem Renaissance. Fauset addresses racial ‘passing’ and gender roles as well as romantic relationships and the struggle for independence. I thoroughly enjoyed the prose and the fleshed-out characters, including Angela’s development as a self-accepting ‘colored’ woman. Although there were some sections which I found slow, for the most part, it was a book I couldn’t put down and was an overall enjoyable read.
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This book was wonderful! Highly recommend!
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Five stars! This is our first read for Sin and Redemption in North American Literature. I had previously read five Harlem Renaissance novels, of the six that my daughter picked for us to read. Our first read happens to be another Harlem Renaissance.
Individual Choice
"She had the complete egoist's desire for solitude" (57). Egoist => solipsist. Also (99).
". . . almost an arrogance of confidence" (58). Hubris!
"'She would have seen what she wanted and taken it," . . ." (61).
"How quickly she had forgotten those fears and uncertainties" (63).
"There was a simple, genuine steadfastness in him that made her realize that he would seek for the expression of truth and of himself even at the cost of the trimmings of life. And she was ashamed, . . ." (65). Angela realizes that what she seeks is 'trimmings.'
"Stolen waters are the sweetest" (72). Also (110). "Once she thought that stolen waters were sweetest, but now it was the unwinding road and the open book that most intrigued" (190).
"And she wondered what it would be like to love" (76). Not to put too much on it, but so would a sociopath. Also (83, 101, 136).
"She turned back to her plate, her heart sick" (77).
"It was Roger, Roger and the sight of him made her dumb with fear" (92). She understands the choice she is making.
"She was naturally cold; . . . . it was a matter of fastidiousness" (116).
"And she began to wonder which was the more important, a patent insistence of the fact of colour or an acceptance of the good things of life which cold come to you in America if either you were not coloured or the fact of your racial connections was not made known" (27).
Is this Angela's catastrophe? from Latin catastropha, from Greek katastrophē ‘overturning, sudden turn’, from kata- ‘down’ + strophē ‘turning’ (from strephein ‘to turn’).
Or is it, "If she did not withdraw from her acquaintanceship with Roger now, even though she committed no overt act she would never be the same; she could never again face herself with the old, unshaken pride and self-confidence" (103). Also (110).
"Already she was infinitely wiser, . . . more weariness than she had yesterday with Roger" (104). This is far from Aristotle's love of knowledge that leads to virtue.
Roger and Angela become lovers just as she is about to break it off. (117 - 119).
". . . . had failed to supply her with a single friend to whom she could turn in an hour of extremity" (137).
". . . for a time I was nothing, worthless, only I have never denied my color; I have always taken up with coloured causes" (169).
"Yet that clear mind of warned her again and again that there was nothing inherently wrong or mean or shameful in the stand which she had taken. . . . instead of sharing the burdens of her own group . . . She had long since given up the search for happiness" (194). Yet she seems closer to eudaimonia.
Accident
"Certain fortuitous endowments . . . bestowed quite blindly and disproportionately . . . toward a glowing and pleasant existence" (8)
"One might break free from . . . but color . . . clearly one of those fortuitous endowments of the gods" (8).
"Gradually the rule formed that Angela accompanied her mother and Virginia her father.
On such fortuities does life depend" (10).
"Darling child, it's very much better . . . to be born lucky than rich. But I am lucky and I'll be rich too" (28).
"I mean she's left me, she doesn't want me anymore. She wants other people" (176). Is this an Oedipus-like coincidence?
Systemic Injustice
"First, that the great rewards of life riches, glamour, pleasure, are for white-skinned people only" (10).
"It was the one god apparently to whom you could sacrifice everything" (26).
". . . the elect of the world for whom all things are made" (116).
The Moral?
"Jinny had changed her life and been successful. Angela had changed hers and found pain and unhappiness. Where did the fault lie? Not, certainly, in her determination to pass from one race to another" (141).
Sin has been narrated as social and as personal in mainstream, North American storytelling - as a matter of lies writ large and as a result of individual choice. Through a close reading of these works in North American literature, we will think through different ways of reckoning with trauma, accident, and systemic injustice. We will also consider ways that each author offers possibilities for continuing to risk the possibility of change, and even love. -
This book was frustrating, heartbreaking, triumphant, and dazzling at different points.
I'll leave a more thought-out review after my ENG460G class meeting on Tuesday, which I think will help organize my feelings. But what an unknown gem of the Harlem Renaissance this novel is. -
This book was...aggravating. Well, not the book exactly, even though my copy fell apart in my hands, but the characters.
This is a story of passing, of a mixed race woman that can pass for white in the 1920's and so she does in order to attain all of her materialistic dreams. Or so she thinks.
Even though the race issues were horrible, that's not my problem with this book. My problem is that every single female character defines herself by a man. Either by the man she's with or the man she wants. Every. Single. One. If there is no man in her life she has no self-identity.
I was hoping the main character, Angela, would break this cycle and and it seemed as though by the end she would. But no. But no... marriage is the ultimate goal no matter the cost that comes with it to attain it. Ugh. -
I've been on the verge about whether or not this book should get a 3 or a 4 --so I've decided it is a 3.5 and I'll be lenient and give it a 4-star rating here on GoodReads.
Let me explain--
The novel is about a young woman named Angela, who, during the Harlem Renaissance, decides that living her life has become all too complicated because of race. Therefore, she decides that she is going to try "passing" and moves to New York. As one might predict, she still faces trouble and turmoil in New York as she is navigates the problems of being a woman, a white woman, a black woman, etc. Basically... there are no easy answers.
This novel may deserve 4-stars for being one of the first novels to be written on the subject in the 1920s--especially considering it is written by an African-American female author. I think this is one of the reasons we have returned to this novel, because of its historic significance (and the significance of the author). But that aside, the story itself is not "better" than some of the books that come later dealing with the same subject of "passing."
In terms of presenting an overall story, I would probably rate this somewhere around a 3. Sure, the characters are somewhat interesting, and the subject matter is interesting, but the writing style is not unique. There are moments where I wanted to say "well duh" after reading passages that were meant to be super profound. One such example: "She knew that men had a better time of it than women, coloured men than coloured women, white men than white [w]omen" (p88). I'm going to let the typo "momen" slide, but the publisher should have noticed this. I am, however, going to say this is 3-star rating in terms of writing because this moment of "epiphany" from Angela is nothing that should be an epiphany (even in the 1920s when it was written).
Another moment of confusion is when Angela meets Paulette and begins spending time with her. She seems to look up to Paulette, but only because "she has never seen a woman more completely at ease, more assuredly mistress of herself and of her fate" (p105). Why, might you ask, does she feel this way? The best answer is because Paulette has a male lover that spends time at her house (which we know because, gasp, Angela sees his toothbrush) and because Paulette smokes (not just smokes, but is alluring while she does it). Huh?
And of course, Angela has been caught "passing" before as a child. But for some reason, she is convinced this will not happen to her in New York. For real? Fauset tells us that she's been caught before... but Angela doesn't think it could possibly ever happen again? Seems illogical.
As a story, a solid 3. But because of some of the historical context, I'd be willing to give it a 3.5 and therefore round it to a 4.
