I. Racial Passing and the Jamaican Color System
In Michelle Cliff’s
There are different interpretations regarding the nature of passing. Donald Geollnicht argues in his critical analysis on genetic and generic passing in the African American novel
In other words, a woman who passes is at greater risk than her male counterpart, most likely because of her reproductive role since a woman who passes threatens the desire and demand for racial purity. Unlike a male passer, who can blame the birth of a clearly black child on his wife’s infidelity, there is hardly a way for a woman who passes to deny her black ancestry or her racial infidelity once she is discovered giving birth to a dark-skinned child. The octoroon Miss Sylvie in Patricia Powell’s
Racial passing is, in fact, a recurrent theme in Cliff’s writing, and she apparently views it negatively. In a poem entitled “Passing,” Cliff notes that the prices of passing are invisibility and silence ― “Passing demands a desire to become invisible. A ghost-life. An ignorance of connections” and “Passing demands quiet. And from that quiet ― silence” (
Anthropologist Elisa Jannie Sobo points out that out of slavery and colonialism grows a pyramid-like “color and class system” in Jamaican society, with a small white elite at the top supported by a large base of blacks, with brown-skinned people generally in the middle (22). As a descendant of former slaves and landowners, Clare Savage in
Here the “color symbolism” is physically exposed through the list of different human features. “Potential” alludes to a class mobility that is closely connected with skin color and other racial features. For Cliff, nevertheless, such potential is immanently destructive as it is a form of internal colonization that threatens to break up social and familial ties and friendships.2 As the narrator of
In addition to highlighting the complexities of the color system in Jamaica that resulted from its colonial past, Cliff contributes to the discussion of racial passing by inserting the immigrant experience into the plot of racial passing. In the two novels, Cliff delineates the difficulties faced by the former colonized peoples of the Caribbean who become immigrants to the neocolonial United States and are forced to give up their received concept of the racial categories programmed by a colonial education. The American society into which Clare has immigrated flatly denies the Caribbean racial classification. Instead, it observes the “one drop” and “hypo-descent” rules.3 “According to the one-drop rule,” Valerie Smith notes, “individuals are classified as black if they possess one black ancestor; the ‘hypo-descent’ rule, acknowledged historically by the federal courts, the 1930 US census bureau and other agencies of the state, assigned people of mixed racial origin to the status of the subordinated racial group” (44-45). As Vincent J. Cheng comments, the enforcement of the “one drop” rule in the early twentieth century leads to “a bizarre binary approach to race that imagines everything in black and white and rejects anything in-between, effectively denying the existence of the category of ‘mixed race’ and of racial gradations altogether” (130).
As an immigrant, the class and social privileges of “buckra” status that come along with Clare’s “symbolic skin” (
The plot of racial passing in
Boy regularly describes for Clare their glorious family history as one descending from British aristocracy, and he deliberately whitewashes the cruelty and violence of the slave owners. There is no need for the Savages to pass in Jamaica because of this “glorious descent” and their light skin color. When the Savages immigrated to the States in 1960, however, Boy had his first experience of passing at a motel in Georgia. The moment the white innkeeper questions whether he and his family are “niggers,” what flashes through Boy’s mind is his Jesuit teacher’s lesson on the various types of mixed-blood in Jamaican society: “In the Spanish colonies there were 128 categories to be memorized” (56). This spectrum of racially mixed groups has little meaning in American society with its overdeterminism of the color line. Boy instantly decides to practice racial denial and acknowledges only his white ancestry in front of the innkeeper, who is also a Klan man. By claiming the lineage of a sugar plantation family, Boy attempts to empathetically evoke the memory of America’s southern plantation society, which instantly connects the two men in a state of intimacy based on the unspoken allusion to slavocracy. Cliff records Boy’s sudden transformation after the connection is made:
At least three levels of criticism are embedded in this scene of symbolic rebirth: Boy’s hypocrisy is satirized, the colonial hierarchy that he has internalized proves to be useless, and American racism and bigotry as embodied by the innkeeper are under discursive scrutiny. Moreover, Cliff is playing on the myth of a new Adam, which is a founding myth of the American republic, and implicitly suggests that the idea of the American Adam is as much a fiction as Boy’s whiteness.
To further emphasize the irony, Cliff goes on to describe the ways in which Boy reinforces the construction of his white, aristocratic heritage. “Boy had no visible problem with declaring himself white,” the narrator informs us (62). He even actively engages in this project of self re-invention:
Here, Boy’s attempt to “manufacture” a set of cheap family heirlooms for the purpose of self-authentication only serves to highlight the artificial nature of racial categorization. The family crest also deserves a detailed reading. The mongoose in the crest is, in Jamaica, a foreign species imported by the white landowners from India to kill off “the snakes who lived in the canfields” (
Goellnicht nevertheless also argues that there is a subversive potential in racial passing: it “threatens to dismantle the entire structure of apartheid” and undermines the concept of white supremacy because the failure of the dominant culture to identify a black person by the measures of physiognomy disqualifies the argument of intellectual and moral inequality based on physical differences (28). In
Amy Robinson has theorized that racial and sexual passing are in fact equivalent to reading skills. Those who are the members of an “in-group” share with each other some special visual codes for detecting racial identity and sexual orientation that are beyond the reach of an outsider: so “it takes one to know one.” The concept of an “in-group” here is not so much an essentialist identity but a position from which one can discern an act of passing (Robinson 715-16). The school scene can be regarded as a ramification of Robinson’s model: there is a triangular relationship between Boy (the passer), Clare (the in-group), and Mrs. Taylor (the supposed dupe). However, Mrs. Taylor refuses to play the role of the “dupe” and instead appropriates the “in-group” role by claiming an insider’s knowledge about the island and the passing trick. Once she foils Boy’s attempt, she immediately moves into a position based on a sense of white superiority to “discipline” these new immigrants from “underdeveloped countries” (
Significantly, Clare, who is supposed to be the one from the in-group in this drama since she knows Boy’s true racial identity and that he is trying to pass, remains voiceless and silently accepts the appropriation of her position as an insider and the racially charged label of “white chocolate.” Of course, it is necessary for the in-group to keep silent for the hoax to work. However, Cliff places a special emphasis on Clare’s silence as a result of submission and suppression. Throughout Clare’s sojourn in America, we are told, Boy “counsels his daughter on invisibility and secrets. Self-effacement. Blending in. The uses of camouflage” (
Cliff states that Clare Savage’s name is meant to represent her as a character divided by two worlds. According to Cliff, Clare Savage’s first name signifies her light skin, and her family name evokes “the wildness that has been bleached from her skin”; what she has lost along with the bleached skin is the knowledge of history and the past “has been bleached from her mind” (“Clare Savage as a Crossroads Character” 265). Hence, passing or camouflage also signifies a denial of her black ancestry, especially on her mother’s side. When her mother Kitty, unable to stand the stress of passing and deracination, moves back to Jamaica with her darker daughter, Clare feels deserted and cut off from her motherland. By returning to Jamaica, this “crossroads character,” as Cliff calls her, is hoping for a chance of recovering from her fragmented state of identity.5
Once Clare returns to Jamaica, however, her racial identity is challenged with another kind of denial as represented by the distrust shown by her comrades in revolution. Clare’s racial and class background make her susceptible to suspicions of being a “
1Yolanda Martínez-San Miguel defines sexile in two ways: “The first is the displacement of subjects who are deemed misfits within the patriarchal, heteronormative discourse of collective identity formation in the Caribbean nation states, neocolonial overseas territories, commonwealths, and departments . . . . The second form of displacement points to the negotiated and temporary exclusion of another from a shared communal space for the fulfillment of a diverging sexual desire” (814). For her, No Telephone to Heaven presents a key Caribbean narrative that explores “possibility of a return and negotiation of spaces after sexile” (826). 2Shirley Toland-Dix also discusses Cliff’s critique of the destructiveness of Jamaica’s color system: “In her writing, both fictional and non-fictional, one of Michelle Cliff’s primary goals is to show the damage, perhaps irrevocable, done to people and societies by racialized, hierarchical systems she frequently describes as ‘insane.’ Isolation, alienation, and self-delusion are endemic to such systems” (37). 3American society is of course more flexible now in terms of racial categorization. 4Marian Aguiar has a different reading of the scene and argues that through speechlessness, Cliff “articulates the denial of certain bodies from the socio-cultural system of speech and refuses dislocation from a body overdetermined by histories of conquest” (105). 5Yet, Clare’s name also carries a potential of resistance since Kitty named her after Clarinda, a black girl who saved Kitty, instead of what Boy has assumed all along, that Clare is named after the college that his grandfather attended at Cambridge (Abeng 141).
II. Sexual Transgressions and the Camouflage of Lesbian Desire
Just as she lays bare the color symbolism of racial passing and the demand for sameness in a nationalist agenda, Cliff also criticizes the heteronormative imposition in Jamaican society. Her critique of the homophobic complex, however, is less direct and explicit than that against racial ideology. Homosexual subtexts, especially lesbian ones, in both novels are camouflaged, and the lesbian one becomes a hidden subtext that needs to be ferreted out. In fact, in an interview Cliff indicates that the lesbian subtext in
There are two episodes with strong lesbian implications in
Cliff deploys extremely sensual language to describe the love or budding desire of the two relationships. The aged Mma Ali is described as a warrior, a teacher and maternal figure who sleeps only with women and teaches her lovers “the magic of passion” (35). It is a teaching of pleasure and autonomy, as well as resistance: “She taught many of the women on the plantation about this passion and how to take strength from it. To keep their bodies as their own, even while they were made subject to the whimsical violence of the justice and his slavedrivers, who were for the most part creole or
The coded description of the lesbian passion between Inez and Mma Ali is presented in an illustration of the bodily details of Clare and Zoe in a nude scene later on in the novel. In her study of the mixed identities in the Americas, Suzanne Bost reads the friendship between Clare and Zoe as a revisionist practice that “challenges previous visions of the tragic mulatta” (124).6 Bost’s reading nevertheless overlooks the fact that there is a class imbalance between the two girls. Whenever Clare leaves Kingston to spend her summer with her maternal grandmother, Miss Mattie, in the countryside of St. Elizabeth, Zoe, the daughter of a squatter on Miss Mattie’s land, is called upon to be her playmate. Although together they roam the countryside and have even made “secret totems, in a language only the two of them could decipher ― a pictographic system like the Mayans had invented” (94) ― their friendship is “kept only on school vacations” (95). Rather than a revision of the tragic mulatta, Zoe is a raw reminder of the racial past ― the
However, the class barrier between the two girls is seemingly temporarily lifted with the physical nudity. The scene takes place after Zoe has confronted Clare with the latter’s class privileges and then the two girls take a bath in a secret water hole to take off the steam of the argument. Right after this scene, the girls break up, and Clare is reminiscing about her “funny” uncle Robert who made a mistake by taking home an “American Negro” boyfriend (125). While the racial element is obviously at work throughout the novel, the nude scene in
In this nude scene, Cliff writes about the two young bodies with loving caress and then goes on to provide the anatomical details of the female body:
The brown and the gold embody the color system that the two girls have been born and locked into. The female genitals are imagined in the heterosexual mode and complete with their reproductive function. The gendered contrast between “would” and “could” in the last two sentences indicates sexual uncertainty and different possibilities of sexuality. Hidden beneath the socially indoctrinated heterosexuality there is nevertheless a potential for auto- and homoeroticism. The bodily description again turns metaphorical with the suggested phrases such as “touched hands” and “salty-damp.” The two girls are virtually on the threshold of discovering an alternative model of sexual pleasure and intimacy. Their budding sexuality enables Cliff to expose a structure of desire that is tabooed and forbidden.
In both cases, however, the lesbian desire is violently interrupted by male figures: Mma Ali is burned to death by her master, Clare’s ancestor Judge Savage, who has raped and kept Inez as his sex slave; Clare is interrupted in achieving any further intimacy with Zoe by a cane-cutter and then accidently shoots her grandmother’s bull, Old Joe, when she is trying to scare the intruder away with a rifle, which is symbolically a phallic weapon. These narrative interruptions, I would argue, embody a kind of self-censorship that is part of narratives of passing and reveal a desire to acknowledge and represent lesbianism and an unwillingness to carry out the potential homoeroticism to the full. This coy act of self-censorship and discursive camouflage in the novel reflects the state of Jamaica’s homophobia and the dire consequences once such sexual transgression is known. In
The lesbian subtext in
The most “eye-catching” queer figure in
In endowing this “complete character” with a doubled name, Cliff deliberately plays on Harry/Harriet’s ambiguous gender identity to interrogate gender essentialism. The use of hyphenation in “boy-girl” stresses his/her androgynous status and equally recognizes his/her doubled identities. The two-in-one name, at once separated and connected by the slash, materializes Harry/Harriet’s multiple gender identities and highlights Cliff’s refusal to follow the rules of gendered naming. This name, straddling the solidus like a pair of double signifiers, also embodies a slippage and indeterminacy of queer identity. Gayle Wald notes that racial passing can work “only because race is more liquid and dynamic, more variable and random, than it is conventionally represented to be within hegemonic discourse” (6). Gender identity, therefore, and the gender indeterminacy of Harry/Harriet at the beginning of
Cliff also underlines the nature of “performance” in Harry/Harriet’s appearance and behavior. He/she deploys the visual code of drag as a resistance to heterosexual hegemony in Jamaica. Moreover, his outrageous dress code also provides the means for him to undermine racism. In one scene, Harry/Harriet and Clare trick some American tourists by assuming the roles of visiting African royalties ― “Prince Badnigga” and “Princess Cunnilinga” (125). As Cliff points out, in this “double-voiced discourse” which makes fun of American tourists seeking exoticism, Harry/Harriet performs an act of resistance against American neocolonialism by acting in the trope of Brer Anansi, a popular trickster figure in various folktales throughout African diaspora (“The Art of History” 58). His/her performance as heterosexual royalty, using his physical differences, shows another subversive possibility of passing other than that suggested by Goellnicht. As Nada Elia comments, there are “two different types of passing” in
However, Cliff does not simply indulge in the play of signifiers or hybridity but also presents us, through the character Harry/Harriet, with the shared experience of physical oppression for Afro-American women and homosexual people. Harry/Harriet has a painful memory of being raped by a white officer when he was ten. What makes it worse is that he has to keep it a secret so that his master/father will not drive him away for getting himself “ruined.” Harry/Harriet sees his experience in a realistic light:
The horror of an adult white man raping a young black child can easily be read in the symbolic mode of colonialism. Yet Harry/Harriet chooses to interpret his experience as a part of the common racial/class/gender oppression suffered by women like his/her mother. More than his/her practice of transvestitism, this empathetic “mimicry” certifies Harry/Harriet’s membership in the sisterhood.
Moreover, Harry/Harriet articulates the voice of the true revolutionary and nationalist. His/her letters describing the corruption and dire need for change in Jamaica summon Clare back from her self-imposed European exile. He/she also initiates the latter into the revolutionary group and teaches Clare the necessity of choosing her identity. Just as Harry/Harriet finally has to give up the fluidity of his/her identity and chooses to be a woman, Clare has to decide on her national identity and to battle against the island’s colonial mentality, political corruption, and neocolonial invasion. Jennifer Smith rightly identifies Harry/Harriet as an alternative maternal figure in the novel who has no biological reproductive power and can “mother” the people around her/him nonetheless. As Smith contends:
Thus Harry/Harriet’s advice and example are of utmost importance to the
Cliff projects all the positive qualities onto this “heroine,” even to the extent of apotheosis: one old woman calls Harriet “Muwa-Lisa, moon and sun, female-male deity of some their ancestors” (171). However, Cliff also shows how this deified epithet provides little defense against the threat of homophobic persecution. The narrator points out that had those people tenderly and patiently nursed by Harriet known about the male organ under her skirt “they would have indulged in elaborate name-calling, possibly stoning, in the end harrying her to the harbor ― perhaps” (171). The sense of uncertainty is added at the very end to show a certain kind of wishful thinking rather than an illustration of reality. “As a non-operative, transgendered biologically male queer,” Nadia Elia observes, “her/his very life depends on camouflage, and the silence of people in the know” (360). And yet, Harriet can still love these people with a full knowledge that they might turn into her persecutors at any moment. The narrator expresses a sense of uncertainty about this selfless love: “And still
Clare finally dies in Jamaica. Cliff contends that Clare has completed the triangle of her life by having her body “burned into the landscape of Jamaica” (“Clare Savage as a Crossroads Character” 265). Yolanda Martínez-San Miguel notes that with this ending, Cliff seems to imagine “a homecoming not as a harmonious recovery of origins but as a displaced rearticulation of one’s sense of belonging” (829). Here Cliff is in fact playing on the dialectic of disappearance and affirmation: Clare and her fellow revolutionaries end up dying for a political cause but in an attack upon an undeserving target and are more than likely to be erased from the national imagination; through Cliff’s act of writing, however, this anonymous death nonetheless affirms that Clare belongs to Jamaica.
Cliff herself, however, remains an expatriate in the United States. Rhonda Cobaham argues that exile writers from the West Indies exchange their alienation for the realization of the highest ambitions of their societies (22). Cliff also needs the distance away from home to look back and find a way to write about it. For Cliff, self-exile or sexile is a necessary position for her to speak: her Jamaican upbringing denounces the act of writing as self-exposure; her lesbian identity treads upon an even more dangerous minefield. At the same time, this exilic act also reveals her uncertainty about her geography of identity: she struggles to resolve the conflicted sense that, on the one hand, Jamaica poses a threat to queer identity and, on the other, the island is also the final home for a creole woman’s search for cultural and racial identity. In spite of this sense of ambivalence and conflict, Cliff has successfully overcome the speechlessness of her youth through her writing and created the transgender character Harry/Harriet as the embodiment of an alternative way of belonging and a role model for the sexually suppressed Clare Savage. Thus, in
6According to Bost, in “the nineteen-century tragic mulatta narratives . . . . women are portrayed as the sexually magnetic vessels through which mixture is produced” (2). The name of the socially disadvantaged Zoe is “the name often given to stereotypical tragic mulatta in the nineteenth century” (Bost 119). However, interestingly in Abeng, the name Zoe is given to the dark girl and not to the mulatta protagonist. 7According to Bhabha in his interview with Jonathan Rutherford, “This third space displaces the histories that constitute it, and sets up new structures of authority, new political initiatives, which are inadequately understood through received wisdom” (Rutherford 211).