Conflict

The conflict of a plot is the major problem the protagonist experiences. Because Passing is such an ambiguous novel, the conflict depends on one's reading of what it is 'œabout.' If this is a novel about sexuality and, thus, Irene's latent lesbianism, the conflict takes place within Irene, who is 'œpassing' as straight. If it is a novel about race, the conflict still takes place within Irene, because she struggles with what she should do about Clare's 'œpassing' as white: Should she stand up to John Bellew? Should she 'œout' Clare?: Can she support an African American 'œpassing' as white, even though it offends her, in order to remain loyal to her race? Either way, the conflict is essentially 'œman vs. himself' (woman vs. herself) and is preciptated by Clare's presence in Irene's life.

Protagonist

The protagonist of a story is the main character who traditionally undergoes some sort of change. He or she must usually overcome some opposing force. In this story, Irene is the main character. Regardless of how one reads this novel, the change in Irene's life happens when Clare dies (or Irene kills her) because Irene has ostensibly recognized what Clare represents in her own psyche and rejected it. Until Clare dies, Irene wavers about allowing Clare to be a part of her life, thus entertaining either her lesbian desires or her attraction to passing as white (and perhaps the class status that can come with it).

Antagonist

The antagonist of a story is the force that provides an obstacle for the protagonist. In Passing, Clare is the antagonist because her presence in Irene's life forces Irene to grapple with her own identity. Irene's attraction to Clare-- whether it is a sexual attraction, or an attraction to Clare's 'œwhiteness,' or wealth--threatens her lifestyle because it presents alternatives that Irene has not chosen. This attraction is further exacerbated by Brian's infatuation, or perceived infatuation with Clare, since Irene has worked so diligently to keep Brian's other desire (Brazil) out of reach.

Climax

The climax of a plot is the major turning point that allows the protagonist to resolve the conflict. The climax of Passing is when Clare falls out the window, or is pushed. Whether or not Irene pushed Clare is irrelevant: what matters is Irene's reaction to Clare's death. Irene clearly feels relieved to have Clare gone from her world and, by association, the identity issues Clare raises for Irene.

Outcome

The outcome, resolution, or denouement is, like the rest of the plot, ambiguous. What we can clearly discern is that once Irene knows Clare is dead and that the crowd generally agrees she fell out of the window, Irene faints. Because we know Irene is not immediately saddened by Clare's death (she is mostly concerned with what people will think about her reaction and then about Brian catching cold), we can conclude that the outcome for Irene is a return to status quo. With Clare gone, she will not have to confront, consistently, the identity issues Clare presented. The act of Irene bringing Brian's coat to him can be read as a commitment to her marriage. Therefore, regardless of whether this plot is about race or sexuality, Irene is bound to a marriage with a black man and appears to continue to make that choice even at the end of the novel. By constraining herself in this way, she continues to choose against the alternative lifestyles Clare represents. However, Irene is forced to undergo a change because of Clare: she has to act, seemingly for the first time, in her own best (selfish) interest. This is clear when she realizes why she never told Brian that John Bellew has uncovered Clare's secret (she does not want Clare to be free of John because then Irene will never be free of Clare and all she represents). Also, if we interpret the ending to mean that Irene killed Clare, then she has clearly sacrificed her moral character.