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Larson's 1929 novel, now a Netflix movie, illustrates the degree to which race is a construct—not taught to readers.

"Approximately 12,000 black whites disappear each year," Walter White, former chairman of the National Association for the Advancement of Colored People, wrote in a 1947 article. "Death or immigration cannot be used to explain their absence... the men and women who decide that if they escape the prohibitions and humiliation imposed on them by American descent, they will be happier and more successful men and women." 

White has first-hand experience. The black chairman of the National Association for the Advancement of Colored People is blond and blue-eyed. He will "disappear" himself from time to time so that he can safely investigate the lynching in the southern United States. This article published in Time magazine was called "Why I Choose to Keep Black Identity."  

The term "passing by" is related to those who disappeared-pretending to be something, so pretending to be someone, they are usually looking for a better, safer or easier life. This practice is not limited to race. It may be a Jew posing as a Gentile; a Catholic as a Protestant. But the challenge remains the same, which can easily lead to narrative tension-the need to be isolated from the past, fear of being discovered, and construct a life of lies. 

Nella Larsen's succinct novella Passing is based on the casualties caused by illegality, trickery, and outright deception when an African American woman became white in the 1920s in the United States And conspiracy. It was published in 1929, has been adapted into a movie by British actor Rebecca Hall, and is now broadcast on Netflix. This novella has long been one of my favorite Harlem Renaissance works. It is a literary movement that emerged among black artists and writers in New York in the 20th century. It bears witness to Zola Neal Heston , Langston Hughes, Earl Cullen, and Aaron Douglas, among others, became prominent. The sparse writing, character-driven and complex emotions illustrate the extent to which black is a political color, race is a structure, and racism is a system in which color is a component, not a determinant—no Actually teach the reader any of them.  

"Passing By" tells the story of two light-skinned African-American women Irene Redfield and Clare Kendry who were childhood friends in Chicago and met many years later. Irene’s husband is even darker, living in the dark world of fundraising and tea parties in Harlem—Zora Neale Hurston mockingly called him "black." On the other hand, Claire lives with a white husband as a white woman. The husband does not know his true racial identity and assumes that she is white, freely sharing his racist views with Irene. 

Irene is curious, shocked, repulsive and fascinated by Clare's situation, because she keeps her company and her secrets. "There is something [Eileen] wants to ask Claire," Larson wrote. "She wants to learn about the dangerous things of'passenger', to break away from all familiar and friendly things, and to take risks in another environment. It may not be too strange, but it is certainly not completely friendly."  

Claire couldn't believe that Irene, who was light enough to pass, chose to stay in the black world. "I have everything I want," Irene explained. "Except, maybe, a little more money." 

 "It's great to have money," Claire agreed. "In fact, all things considered, I think,'Rene, it's even worth the price." 

Claire penetrated Irene's social occasions in Harlem with a coquettish confidence, which quickly made Irene feel shabby and troubled about her fragile marriage. Then, one day, Irene and a darker black friend met Claire's husband Jack while walking in New York. In order to hide Claire's black identity, Irene pretended not to know Jack. But seeing her with the undoubtedly black company, his wife's deception and illegal activities were exposed. Jack chased Clare and Irene to a party among the trendy black people in Harlem. He shouted racial slurs and asked to see his wife, who was standing by an open window. When Jack approached, Irene touched Claire's arm, and Claire fell six stories from the open window and died. It is unclear whether Claire was pushed, dropped or jumped.  

The ending is the weakness of the book. From Uncle Tom’s hut to his native son, exile, emigration (Eileen’s husband is a doctor and wants to leave the United States for South America, he thinks the racism there will not be so serious) or death is too much about the black experience The ending theme of the book. They avoid the open-ended, unresolved possibility of solving the problem, or just endure it, in favor of more final things. 

Any society that prioritizes discrimination against specific groups of people must first develop and be obsessed with the means to discriminate against them first. The rules are written; laws are made. In apartheid South Africa, a race classification appeal committee was established to deal with any disputes. Among various examinations, there are "pencil test" (they put a pencil on your hair and make you bend it forward. If it slides over you, you are white, otherwise you are black); "nail test" (the more the cuticle is) Pink, the darker the person) or "scrotal test" (according to the color of the testicle pouch assigns race). The boundary space between race and skin color is occupied by many people, providing rich material for the fascinating storyline. 

Philip Roth's "Human Stain", Walter Mosley's Blue Dress Demon, Brit Bennett's "Half Lost", the recent BBC TV series Ray Both Ridley Road and the 1990 film Europa Europa depend on the past and the tensions inherent in it. Unlike Larsen's work, "transmission" is not a device-it is a story.  

Therefore, this book provides almost no plot. Most of the story takes place in Irene's mind, because she is solving the problems Claire's existence poses to her own life. Adapted by Netflix, paying close attention to this book, focusing on the blooming and withering of Claire and Irene's friendship, and the tension of Irene's marriage. Irene's friend and her husband both wanted to get rid of racism, but they took a different path. Irene still felt trapped herself.

All of these make the viewing boring and calm. However, it can be said that this film lacks narrative, but it is aesthetically rewarding. An exquisite costume drama, filmed in black and white, celebrating the prevalence of Harlem. Even if thousands of African Americans continue to disappear, their cultural contributions have become more apparent. 

"Passing" is now playing on Netflix

[See also: BBC One TV series Ridley Road inadvertently glorified neo-Nazis]