Quicksand is the story of a biracial woman, Helga Crane, with a Danish mother and a Caribbean father. Thus, like many Harlem Renaissance novels, Quicksand deals with the color line and its simultaneous flexibility (seen in the phenomenon of passing) and rigidity (in often violent and legally regulated race relations). In the same way, Crane is both flexible—almost totally inconstant—and tied down by race and her ultimate decision to marry and become a mother.
Nella Larsen, like Helga Crane, was the issue of a biracial couple (Danish West Indies and a Danish mother). She spent much of her life travel ling between New York City and Europe, marrying a physicist along the way and finally settling down as a nurse, where she worked until the end of her life. She wrote one important novel in addition to Quicksand, called Passing, which apparently deals also with the color line. She was active in politics throughout the 20s and 30s but fell out of public life after some public humiliations.
The main theme of the novel seems to be restlessness. As the novel opens she is preparing to marry and is teaching in the U.S. South. This job—particularly the conservative values of the institution—frustrates and bores her. She lacked any of the family ties or religious loyalties that might connect her to the South and she, like so many others from the South, looked to moving to the northern cities. Her rootlessness takes her to Chicago where she has some family. The racial lines make this family reunion impossible and she seeks work. After being considered over-qualified for most jobs at the employment agencies, she lands a short-term gig as an assistant to a traveling speaker. This adventure takes her to Harlem and then Denmark and finally back to the United States where she married a black preacher, despite her lack of religious beliefs.
The rest of her life is one of imprisonment and boredom. Rather than a traditional narrative of expanding liberty, Helga Crane’s story ends in the prison of marriage and repeated child birth. But there are other times we see evidence of prisons in her life, most importantly regarding race. This is most clearly seen in her inability to accept a marriage proposal from a promising youth Danish artist because of her visceral dislike of interracial marriages. This belief, despite her parents, only shows how powerfully influenced she was by American racism. This block in her mind was the ultimate cause of her later imprisonment in marriage and her unhappiness.
Her ending thoughts suggest the horror of Crane’s later life. “The thought of her husband roused in her a deep and contemptuous hatred. At his every approach she had forcibly to subdue a furious inclination to scream out in protest. Shame, too, swept over her at every thought of her marriage. Marriage. This sacred thing of which parsons and other Christian folk ranted so sanctimoniously, how immoral—according to their own standards—it could be!” (430)
But let me end this short post by looking at Crane’s wanderlust, much more fascinating, troubling, and full of potential. It is a voice from her comparative youth. “In the actuality of the pleasant present and the delightful vision of an agreeable future she was contented, and happy. She did not analyze this contentment, this happiness, but vaguely, without putting it into works of even so tangible a thing as a thought, she knew it sprang from a sense of freedom, a release from the feeling of smallness which had hedged her in, first during her sorry, unchildlike childhood.” (344)
I think we need more of the petulant discontent, if propelled into a constant re-imagination of life, not just an endless stream from grumbling.