Hidden Identity in the Great Gatsby and Passing

The Roaring Twenties ushered in a period in American literature that is marked by experimentation, stylistic innovation and nontraditional form. Known as Modernism, the movement is characterized by achievements that have left a lasting impact on literature as a whole. The exploration of women's issues and the exemplification of other cultures and experiences are two topics that were explored by Modernist writers. One of the major themes explored by the Modernists is "collectivism versus the authority of the individual" (Reuben). This theme is most often shown in the desire of characters to fit into societies that they believe to be more affluent than their own. This yearning is the bases for two American Modernist classics, The Great Gatsby (1925) by F. Scott Fitzgerald and Passing (1929) by Nella Larsen. Both novels deal with the issues of appearances versus reality and passing. The obsessive quest to belong to the collective whole leads characters in both novels to deny their heritage and reject their pasts in feeble attempts to gain acceptance and ultimately reach the illusive American dream. In The Great Gatsby and Passing, the characters use various social settings to reject reality and present themselves as people other than who they truly are, however in the end, their attempts prove to have disastrous consequences.

In The Great Gatsby, Fitzgerald tells the story of a man who believes that wealth and power can lead to love and happiness. Ironically, he spends his life trying to change the facts of his past so that he may recapture one aspect of it, his love affair with Daisy. Gatsby and Daisy were young lovers, unable to be together because of the difference in their social status. Gatsby then spends the next few years of his life, acquiring material wealth and power. Once he is financially stable, he moves near Daisy and hopes that their paths will cross again. Gatsby's obsessive desire leads him to throw these massive parties, hoping that Daisy will attend. It is during these parties that we are given the most insight into the mysteriousness of Gatsby. The extravagant parties allow him to further shroud himself in secrecy and illusiveness. At his parties, Gatsby is able to create a heightened suspicion about himself that keeps his many guest speculating about his past: "Somebody told me they thought he killed a man once." A thrill passed over all of us…It was testimony to the romantic speculation he inspired that there were whispers about him from those who had found little that it was necessary to whisper about in this world" (Fitzgerald 48). Gatsby never corrects the many theories that circulate about him. Oftentimes he too leads people to believe things about him that are not true. For example, he tells people that he is an Oxford man, when in reality he only attended Oxford briefly. Also his name is not really Gatsby, it is actually Jay Gatz. The name change, fictional past and glamorous fantasy life all add to the illusion of his identity. In the end however, reality come crashing down on Gatsby with terrible consequences.

Gatsby is not the only character that creates a persona that is not entirely true. Daisy initially comes across to the reader as a naïve and passive woman who is reacts to the men in her life, but never initiates any action. She ignores the fact that her husband has had numerous affair and wishes that her young daughter will react in the same manner when she gets older: "'I'm glad it's a girl. And I hope she'll be a fool-that's the best thing a girl can be in this world, beautiful little fool'" (Fitzgerald 21). Daisy pretends as if she has no clue what is going on, but it is later revealed that she is not as naïve as she pretends to be. She becomes just as manipulative as her husband Tom and even goes as far as to invite Gatsby to her home to flaunt her affair, as Tom does. In the end, Daisy is proven to be just like Tom; she is just as driven by material possessions and status. Despite Gatsby's self-made wealth, she is unable to leave the comforts of acceptance and familiarity that she has with Tom. She is not the perfect woman that Gatsby has pined over for years. Instead she is a reckless woman possibly capable of murder.

Like Daisy in The Great Gatsby, Irene in Passing pretends to be a certain way, when in actuality she is very different. Passing chronicles a series of encounters between Irene Redfield and Clare Kendry, childhood friends. Although both are fair-skinned African-American women, Irene chooses to live the life of a black woman while Clare chooses to pass for white. However, Irene is not without her own race-related issues. The first encounter between Irene and Clare occurs in a fancy, upscale restaurant. Both have stopped for tea and both at the time are passing. In Irene's mind however, she is not doing anything wrong. She does not mind passing occasionally for social perks. However, her encounter with Clare sparks a curiosity that she has kept suppressed until their meeting: "…she was curious. There were things that she wanted to ask Clare Kandry. She wished to find out about this hazardous business of 'passing'…" (Larsen 24). Although she claims to be happy with her status in life, Irene is intrigued by Clare's ability to pass without fear. Also, despite her alleged embracing her black culture, Irene refuses to acknowledge that downside of her heritage, which is racism. She pretends that racism does not exist and tries to live the life of a white person, oblivious to racism. Irene's denial of the negative aspect of her heritage causes strife in her marriage. She chastises her husband, Brian when he tries to enlighten their children to the realities of racism and lynching. She also rejects Brian's desire to leave the racism in the United States for a more peaceful existence in Brazil. The tension in their marriage allows fear and doubt to enter Irene's consciousness when Clare begins to be a more present figure in her life and in the lives of her family.

Clare Kendry chooses to use her fair skin to pass into the white community. By doing so, she places herself in a potentially dangerous situation. While married to John Bellow, a white racist, Clare longs for the black culture from which she has been disconnected. Her chance encounter with Irene, enables her to reconnect with the culture she longs for. Clare invites Irene and Gertrude, another friend, to her house for tea so that they can catch up and so Clare can be reacquainted with her culture. However the situation gets awkward when Clare's husband comes and reveals his nickname for Clare is "Nig." He calls her this because of her dark complexion. Unbeknownst to Bellew, Clare's complexion is a result of her ethnic heritage. Bellew also unknowingly declares his hatred of blacks in from of three black women: "I don't dislike them, I hate them. And so does Nig, for all she's trying to turn into one. She wouldn't have a nigger maid around her for love nor money. Not that I'd want her to. They give me the creeps. The black scrimy devils" (Larsen 40). Clare's selfish nature and misrepresentation of herself allows her to subject her so-called friends to the ranting of her husband. However, Clare does not regret her attempts to merge her two worlds. In fact she revels in the danger of living close to the edge. She welcomes the discovery of her secret. Her "having" way enables her to manipulate every situation she encounters and her need to live on the edge keeps her in potentially harmful situations. In the end, this encounter will lead to her downfall, literally.

It is another social gathering that leads to the unveiling of truths that precede Gatsby's death. Daisy's invitation to Nick and Gatsby to join her, Tom and Jordan for lunch sets in motion a deadly chain of events. First Tom realizes there is more to Gatsby and Daisy's relationship. He witnesses a brief exchange between his wife and Gatsby that leads him to suspect the worst: "Their eyes met, and they stared together at each other, alone in space…She had told him that she loved him, and Tom Buchanan saw. He was astounded" (Fitzgerald 125). Tom then learns that her husband is taking Myrtle, his mistress, out of town. These two events culminate in Tom's realization that his power is passing through his fingers: "There is no confusion like the confusion of a simple mid and as we drove away Tom was feeling the hot whips of panic. His wife and his mistress, until an hour ago secure and inviolate, were slipping precipitately from his control" (Fitzgerald 131). Tom's loss of control over his women leads him to verbally accost Gatsby, who in retaliation reveals that Daisy has always secretly loved him. This confrontation leads to Daisy's hit and run that takes Myrtles life. The cover-up that ensues afterward, with the lies of Tom, essentially leads to Gatsby's murder as well

Unlike Gatsby's death, which is preceded by a social lunch, Clare meets her end in the middle of a cocktail party. Clare's death is the climatic end to a party begins merrily:
David Freeland was at his best, brilliant, crystal clear, and sparkling. Felise, too, was amusing, and not so sarcastic as usual, because she liked the dozen or so guests that dotted the long, untidy living-room. Brian was witty, though, Irene noted, his remarks were somewhat more barbed than was customary even with him. And there was Ralph Hazelton, throwing nonsensical shining things into the pool of talk, which the others, even Clare, picked up and flung back with fresh adornment. (Larsen 109)
Irene was the only one not enjoying herself, although she occasionally smiles, for appearances sake. The jovial party offers the perfect opportunity for Irene to orchestrate her plan. She carefully calculates her moves: "'It seems dreadfully warm in here. Mind if I open this window?' With that she pushed open one of the long casement-windows of which the Freelands were so proud…Irene finished her cigarette and threw it out, watching the tiny spark drop slowly down to the white ground below"(Larsen 110). When opportunity presents itself in the commotion of Bellow's arrival, Irene pushes Clare out of the open window to her death. The party scene serves as a catalyst to reveal the true nature of Irene.

In The Great Gatsby and Passing, neither novel offers to resolve the issues related to passing or self-denial as a means to attain happiness and success. However, they do exhibit the inevitable dawn fall associated with living a life of superficial and unreal existences. Through the various characters, the reader learns that no good can come from lying to oneself or others. By placing themselves in the various social settings, the characters are able to avoid meaningful contact with themselves and others. The tea parties, lunches and cocktail parties enable the characters to hide behind the scenes of the moment and deny their true identities.