Quicksand: Back to Harlem, Back to the Masculine

 

    Quicksand is a tragic mulatta that reflects the personal experiences of its author, Nella Larson. And, in a sense, it follows Maureen Murdock’s heroine’s journey. The book features a biracial woman named Helga Crane—her mother/feminine side is white and her father/masculine side is black—who seeks for a place in society where she can belong. She goes to Naxos, Harlem, and Denmark, but ends up feeling oppressed, socially, economically, and psychologically. Naxos felt very white-washed, Harlem appeared too anti-white, and Copenhagen objectified black people. So, after getting all fed up, Helga yearns to go back to Harlem/"father's side" in Chapter 18, where she is given the opportunity to fully Reconcile with the Masculine or come to terms with key aspects of her black/masculine identity (the penultimate step of the Murdock’s heroine’s journey).

    Upon return, Anne Grey, determined to make her new marriage with Dr. Anderson a success, severs ties with Helga Crane. Still, this break up liberates Helga from Anne’s unjustified, outspoken prejudice against white people (the cause of great discomfort during her first stay in Harlem) and allows Helga to freely open herself up to Harlem’s diversity. In contrast to her previous experience, Helga becomes more attuned to the wide range of political and social representatives around her at Mrs. Tavenor’s inclusive party, allowing her to recognize and appreciate the positive aspects of her Black/masculine identity.

    Additionally, Helga embraces her assertive masculinity during her brief interaction with her ex, James Vayle, adopting a dominant stance as she firmly counters his disapproval of her life choices like living abroad in Denmark. Helga also affirms her empowerment and independence by boldly challenging the social conventions that he attempts to impose upon her as a Black woman. She dismisses James’s belief that upper-class Negro women must marry and bear children for their race to advance anywhere by rejecting his marriage proposal before he can even ask it, mocking, “Don’t… tell me you’re going to ask me again to marry you.”

    However, Helga irreparably damages her relationship with Dr. Anderson when she slaps him. Soon after, her masculine confidence fades away, as she, too ashamed of herself, runs away from the problem and becomes a delusional religious person. Eventually, Helga snaps out of her illusions. But, she is unable to escape the hole she dug herself into and is forced to accept her sad, baby-making ending.