"Taken for 'white'":Passing in Charles W. Chesnutt's Short Stories Izabela Hopkins "Twice to-day, or oftener I have been taken for 'white,'" wrote the young Charles Waddell Chesnutt in his diary on 31 July 1875 (Journals 78). Chesnutt embodied the paradox of the invisible color line based on custom and tradition. In 1879, long before Plessy v. Ferguson enshrined in law Jim Crow and segregation of space in 1896, removing optics from color classification, Chesnutt observed in his journal that the general consensus among southern blacks was that the prejudice against them was not the direct result of "their color," but rather "their condition in life" (107).1 After all, poor whites did not fare much better, possessing "nothing but the freedom of their malnutrition," as Ellen Glasgow, a Virginian by birth and a novelist, once remarked (Woman Within 52). Chesnutt understood clearly that color was a mere pretext and that the true root of race prejudice lay in the assumptions based on a historically and culturally cultivated and disseminated image of black people, an image of predetermined inferiority that was gradually implemented and first used to justify slavery, and later to block access to [End Page 37] advancement and opportunity.2 Chesnutt's precarious positioning between two polarities, visible whiteness and an abstract legacy of blackness, feeds directly into his delineations of passing and stems from the particular historical and cultural moment in which he writes. He saw passing as both a corollary of slavery and an antiquated system of values prevalent in the South that placed blood, birth, and wealth above individual merit. More so than James Weldon Johnson in his Autobiography of an Ex-Colored Man, first published in 1912, Chesnutt realized the insidious effect of passing as a tool for reifying the social and cultural status quo. If passing pervades Chesnutt's works, it is because the world in which his protagonists dwell is governed by predetermined stereotypes, made to measure molds into which one is born. Since passing reifies the established social and cultural boundaries, it impedes the progress of both races and devalues individual merit because it perpetuates racial stereotypes, the very thing that sets it in motion. Even when Chesnutt crowns passing with success, as in the case of John Walden/Warwick in The House Behind the Cedars, it relies on and perpetuates the well-worn paradigm of a gentleman planter, a status that Warwick acquires through marriage. Chesnutt set out to undermine this deeply ingrained image of the South populated by hereditary gentlemen and ladies, shipped wholesale from good old England, and expose the mythology of the Old South and with it the spurious conviction of white superiority for the sham that they were—empty signifiers devoid of essence for anyone versed in history. He wanted to show what he himself knew all along, that it was not only colored folk who were passing, but that the whites had beaten them to it. "It will be better for the South and for the Negro," wrote Chesnutt in "The White and the Black," "when the white man of the South has obtained his freedom" (143). The enslavement he refers to is the cult of edified past and its constructed gods, trumped-up aristocratic antecedents, which is responsible for and relies on the continuous suppression of black potential to create and sustain the fiction [End Page 38] of white superiority and inherent black inferiority. The one fiction cannot exist without the other, and both result in narratives of passing predicated upon the need for social mobility on the one side and the desire to maintain the status quo on the other. Both drives are mutually exclusive and interdependent. The path to the improvement of the perception of black people and their rising, as Chesnutt saw it, would lead through the desanctification of the bloated notions of blue-blooded aristocrats and white superiority. In a context marred by racial segregation such as the post-Reconstruction South, passing has come to signify crossing the color line and passing for white. More broadly, however, passing denotes duplicity, pretending to be what one is not, crossing social boundaries in the hope that new money may...
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