Ontological Plurality: The Solution to Limited Racial Problematization

Understanding the complexities of race is vital in the pursuit of true racial equality and the dismantling of the racial binary. This requires adopting strategies often associated with specific racial cultures. One such strategy is the concept of 'passing,' which transcends mere racial maneuvering; it serves as a means of self-definition. Passing allows individuals to shed the stereotypical behaviors tied to their racial identities while embracing diverse cultural influences. However, it becomes genuinely liberating only when it is used subversively to navigate the confines of a racist, classist, and sexist society. In this context, passing is not merely an attempt to adopt a desirable identity but a way to escape the societal constructs that define and categorize race. Nella Larsen’s characters, Helga Crane and Clare Kendry, exemplify different approaches to navigating and, in some ways, challenging the racial binary. While Helga is on a relentless quest for a 'true' self, Clare complicates her racial identity by embracing a diverse array of customs and behaviors, ultimately achieving a form of ontological liberation.

The Allure and Dissonance of Identity

Helga Crane finds herself entranced by the Harlem Cabaret, losing herself in the pulsating rhythms and the alluring movements of the dancers. This experience is so intense that she feels "blown out, ripped out, beaten out by the joyous, wild, murky orchestra," reminiscent of a sexual climax. Yet, once the music fades, Helga reassesses her experience, insisting to herself that "she wasn't, she told herself, a jungle creature." This internal conflict illustrates the potent dissonance Helga feels: she enjoys the cabaret, yet she struggles to reconcile this enjoyment with her perception of herself. Helga Crane is ensnared by the racial binary, feeling that her desires and interests are incongruent with societal expectations. This tension between sexual freedom and societal restraint permeates the novel.

In the pursuit of equality, the black social elite expected women to conform to the norms of mainstream society. This adherence aimed not only to foster change within the black community but also to counteract the damaging stereotypes that fueled discrimination against black individuals. Consequently, black women, historically characterized as primitive and promiscuous, often suppressed their sexuality, aligning themselves with prevailing notions of propriety. Helga embodies this struggle; she desires autonomy yet fails to question whether a self-defined identity is attainable. "Helga never confronts the fact that perhaps her identity is both plural and social," leading her to remain in a state of perpetual passing. She feels torn between two identities: black and white. "Why couldn't she have two lives, or why couldn't she at least be satisfied in one place?" she wonders. Despite her racial identity, Helga feels disconnected from her community, believing that her differences extend beyond mere color.

The Quest for Self-Definition

Helga's search for self-synthesis highlights her internal conflict. She seeks to reconcile her feelings with societal expectations, striving for a purpose without realizing that her identity as Helga Crane is sufficient. Her approach to passing ultimately reinforces the rigid racial binary, as she fails to acknowledge the validity of ontological plurality. "The assumption of only one guise or one form of passing causes Larsen's [Helga] to become stable, static, fixed, [and ultimately] entrapped within one social definition." This entrapment prevents her from embracing the multiplicity of her identity.

In contrast, Clare Kendry serves as Helga’s antithesis, destabilizing the notion of a singular 'essential self.' Throughout the novel, Clare adeptly navigates multiple identities—passing as a white mother, a white wife, and more. Unlike Helga, Clare does not seek a singular identity but rather embraces a collection of identities that enrich her existence in any given moment. Clare "finds her identity […] on a self that is composed of and created by a series of guises and masks, of performances and roles." This fluidity enables her to transcend societal labeling; the more she passes, the more complex and plural her identity becomes. Clare's actions, though seemingly irrational, serve as powerful signifiers in the fight against racial categorization. Her passing is not an expression of discontent with her identity; rather, it is a means of challenging the arbitrary stereotypes imposed upon her race.

Embracing Ontological Plurality

The inherent instability of multiple identities complicates the rigid definitions of race dictated by society. The chaos of ontological plurality disrupts prescribed social roles and expectations. Helga Crane's tragedy lies in her subconscious pursuit of external validation over self-acceptance. She passes to evade societal constraints rather than to challenge them. In contrast, Clare Kendry embodies a more revolutionary approach: she dismantles the racial binary through her fluidity and multiplicity. Helga's quest for self-definition ultimately leads to her psychological demise, as she becomes further entrenched in the binary system she seeks to escape. In the end, Clare surpasses the limitations of the racial binary, achieving a form of liberation that Helga cannot attain.

Conclusion

In summary, the exploration of ontological plurality provides a crucial lens through which to examine and challenge limited racial problematization. By embracing the complexities of identity, individuals can transcend the confines of societal expectations and stereotypes. Helga Crane's struggle highlights the dangers of seeking validation externally, while Clare Kendry's fluidity exemplifies the potential for liberation through multiplicity. To truly dismantle the racial binary, it is imperative to recognize and celebrate the diversity within individual identities.

References

1. Cutter, Martha J. "Sliding Significations: Passing as a Narrative and Textual Strategy in Nella Larsen’s Fiction." In Passing & the Fictions of Identity, edited by Elaine K. Ginsberg, 75–100. Durham: Duke University Press, 1997.

2. Larsen, Nella. Quicksand and Passing. New Brunswick: Rutgers University Press, 1995.