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The Black librarian who rewrote the rules of power, gender and passing as white
Deborah W. Parker, University of Virginia
“Just Because I am a Librarian doesn’t mean I have to dress like one.”
With this breezy pronouncement, Belle da Costa Greene handily differentiated herself from most librarians.
She stood out for other reasons, too.
In the early 20th century – a time when men held most positions of authority – Greene was a celebrated book agent, a curator and the first director of the Morgan Library. She also earned US$10,000 a year, about $280,000 today, while other librarians were making roughly $400.
She was also a Black woman who passed as white.
Born in 1879, Belle was the daughter of two light-skinned Black Americans, Genevieve Fleet and Richard T. Greener, the first Black man to graduate from Harvard. When the two separated in 1897, Fleet changed the family’s last name to Greene and, along with her five children, crossed the color line. Belle Marion Greener became Belle da Costa Greene – the “da Costa” a subtle claim to her Portuguese ancestry.
When banking magnate J.P. Morgan sought a librarian in 1905, his nephew Junius Morgan recommended Greene, who had been one of his co-workers at the Princeton Library.
Henceforth, Greene’s life didn’t just kick into a higher gear. It was supercharged. She became a lively fixture at social gatherings among America’s wealthiest families. Her world encompassed Gilded Age mansions, country retreats, rare book enclaves, auction houses, museums and art galleries. Bold, vivacious and glamorous, the keenly intelligent Greene attracted attention wherever she went.
I found myself drawn to the worlds Greene entered and the people she described in her lively letters to her lover, art scholar Bernard Berenson. In 2024, I published a book, “Becoming Belle Da Costa Greene,” which explores her voice, her self-invention, her love of art and literature, and her path-breaking work as a librarian.
Yet I’m often asked whether Greene mentions her passing as white in her writings. She did not. Greene was one of hundreds of thousands of light-skinned Black Americans who passed as white in the Jim Crow era. While speculation about Greene’s background circulated in her lifetime, nothing was confirmed until historian Jean Strouse revealed the identities of Greene’s parents in her 1999 biography, “Morgan: American Financier.” Until that point, only Greene’s mother and siblings knew the story of their Black heritage.
“Passing” can often raise more questions than answers. But Greene did not largely define herself through one category, such as her racial identity. Instead, she constructed a self through the things she loved.
‘I love this life – don’t you?’
In my view, any consideration of Greene’s attitudes toward her own race must remain an open question. And uncertainty can be acknowledged – even embraced – with judgments suspended.
The Morgan Library & Museum currently has an exhibition on Greene that will run until May 4, 2025 – one that’s already generated debates about Greene and the significance of her passing.
One section of the exhibition, “Questioning the Color Line,” includes novels on passing, paintings such as Archibald J. Motley Jr.’s “The Octoroon Girl,” photographs of Greene, and clips from Oscar Micheaux’s 1932 film “Veiled Aristocrats” and John M. Stahl’s 1934 film “Imitation of Life,” which portray painful scenes between white-passing characters and their family members.
None of these objects clarifies Greene’s particular relationship to passing. Instead, they place the librarian within melodramatic and conventional representations about passing that stress self-division and angst.
We don’t know – perhaps we will never know – whether Greene had similar moments of self-doubt.
Yet some critics have concluded as much. In his review of the exhibition for The New Yorker, critic Hilton Als laments what Greene’s passing had cost her. He describes her as a “girl who loved power,” a woman who “became a member of another race – not Black or white but alternately grandiose and self-despising.”
There’s a lot of certainty in such a pronouncement – and scant evidence furnished to support such declarations.
New York Times columnist John McWhorter takes issue with Als’s depiction of the librarian’s passing in a Jan. 23, 2025, article.
Citing passages from her letters in which Greene excitedly describes reading the Arabic folktales “The Thousand and One Nights” and seeing exhibitions of modern art, McWhorter asks readers to reconsider this “witty, puckish soul who savored books and art” and “had an active social life.”
What if Greene gave her race little thought, McWhorter wonders. What if she simply saw the notion of race and racial categorization as “a fiction” and instead lived her life to its fullest? Of course, her light skin afforded her the opportunity that other Black people of her era didn’t have. But does that necessarily mean that she was self-loathing or conflicted?
“[W]e are all wearing trousers and I love them,” Greene writes in one letter to Berenson, adding, “The Library grows more wonderful every day and I am terribly happy in my work here … I love this life – don’t you?”
Greene’s vitality captivated Berenson, who once described the librarian as “incredibly and miraculously responsive.”
The connoisseur was not the only contemporary who admired Greene’s effervescence. In “The Living Present,” an account of the activities of women before and after World War II, Greene’s friend Gertrude Atherton paid tribute to Greene, a “girl so fond of society, so fashionable in dress and appointments” that she could impress any stranger with her “overflowing joie de vivre.”
Crafting an aura
Viewed through a more expansive lens, Greene’s passing can be seen as part of an exercise in self-fashioning and self-invention.
Greene dressed to be noticed – and she was. Meta Harrsen, the librarian Greene hired in 1922, offers a rare eye-witness account. On the day Greene interviewed Harrsen, “she wore a dress of dark red Italian brocade shot with silver threads, a gold braided girdle, and an emerald necklace.”
Greene understood well the power of clothes to project a distinct identity – a highly crafted one in this case, and one befitting a connoisseur of rare books.
At that, she excelled. She became known for her stunning acquisition coups: her purchase of 16 rare editions of the works of English printer William Caxton at an auction; her procurement of the highly coveted Crusader’s Bible through a private negotiation; and her acquisition of the Spanish Apocalypse Commentary, a medieval text written by a Spanish monk that Greene was able to buy at a steep discount.
To me, a 1915 photo captures Greene’s confidence and aura more than any other image of the librarian.
She posed in her home and wasn’t shot in soft focus with a studio backdrop as other photographs tend to portray her. Sitting on the arm of a large chair upholstered in a tapestry weave, she wears an elaborate hat with a large ostrich plume, a high-necked blouse under a long, loosely belted jacket with a ruffled cuff over a long dark skirt. The decor is no less striking: Flemish tapestries decorate the walls behind her, and a liturgical vestment is draped over the bookcase. Looking directly at the viewer, Greene is assured and poised.
Greene’s stylish flair was not simply decorative. It was a testament to her vibrant personality and the joy she took in her work. Rather than judge her according to contemporary notions of racial identity, I prefer to marvel over her achievements and how she became a model for generations of future librarians.
Greene didn’t just pass. She surpassed – in spectacular ways.
Deborah W. Parker, Professor of Italian, University of Virginia
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Last Updated on April 4, 2026 by Daily News Staff
Few transportation systems in the world are as instantly recognizable as the cable cars of San Francisco. Climbing steep hills with a steady hum and a nostalgic charm, these moving landmarks are more than just a tourist attraction—they’re a triumph of innovation born out of necessity.
🐎 A Problem on the Hills
In the mid-1800s, San Francisco was growing rapidly, but its geography posed a serious challenge. The city’s steep inclines made travel difficult, especially for horse-drawn streetcars, which were the primary form of public transportation at the time.
Horses often struggled to pull heavy loads uphill, and accidents were common. In some cases, animals collapsed under the strain. This dangerous and inefficient system needed a solution.
💡 The Vision of Andrew Hallidie
That solution came from Andrew Smith Hallidie, an engineer and entrepreneur who envisioned a safer, more reliable way to move people through the city.
Hallidie developed a system in which streetcars would be pulled by a continuously moving cable running beneath the street—eliminating the need for horses altogether.
⚙️ The First Cable Car Line
On August 2, 1873, Hallidie launched the world’s first cable car system: the Clay Street Hill Railroad.
This groundbreaking line proved that cable-powered transit could successfully navigate San Francisco’s steep terrain. Instead of relying on animal power, cars used a mechanical grip to latch onto a moving cable underground, allowing them to glide smoothly up and down hills.
The innovation quickly captured public attention—and demand.
🚀 A City Transformed
Following the success of the Clay Street line, cable car systems spread rapidly across San Francisco.
By the late 19th century:
- Dozens of routes crisscrossed the city
- Cable cars became the backbone of urban transportation
- The system helped shape the city’s growth and accessibility
For a time, San Francisco operated the largest and most advanced cable car network in the world.
⚡ The Rise of Electric Streetcars
Despite their success, cable cars faced competition from emerging electric streetcar systems in the early 20th century. Electric trolleys were cheaper to build and operate, and they didn’t require the complex underground cable infrastructure.
The turning point came after the devastating 1906 San Francisco earthquake, which destroyed much of the city—including large portions of the cable car network.
When rebuilding began, many lines were converted to electric systems instead of restoring the older cable technology.
San Francisco’s cable car system, first launched in 1873, remains the last manually operated system of its kind. According to the San Francisco Municipal Transportation Agency (SFMTA) , the system was designed to safely navigate the city’s steep terrain.
The cable cars are now designated as a National Historic Landmark, recognized for their cultural and engineering significance by the National Park Service .
Visitors can explore the history and mechanics of the system at the San Francisco Cable Car Museum , which preserves original equipment and archives.
🛑 Saving a Symbol
By the 1940s, cable cars were on the brink of extinction.
That’s when Friedel Klussmann stepped in. A passionate preservationist, Klussmann led a public campaign to protect the remaining lines from being dismantled.
Her efforts culminated in a successful 1947 voter referendum that ensured the survival of San Francisco’s cable cars—transforming them from everyday transit into a preserved cultural landmark.
🌉 Cable Cars Today
Today, San Francisco’s cable cars are:
- The last manually operated cable car system in the world
- A National Historic Landmark
- One of the most visited attractions in California
Three lines remain in operation:
- Powell–Hyde Line
- Powell–Mason Line
- California Street Line
While they still function as public transit, they now serve as a moving museum—connecting modern riders with the city’s past.
🎯 Why It Matters
San Francisco’s cable cars represent more than a mode of transportation. They tell a story of innovation, resilience, and community action.
From solving a practical problem to becoming a global icon, the cable car system reflects how cities adapt—and how people fight to preserve what makes them unique.
📌 “Now You Know”
San Francisco’s cable cars weren’t built for tourism—they were invented to solve a life-and-death problem on steep city streets. Today, they remain the last system of their kind anywhere in the world.
🔗 External Sources & Related Links
- SFMTA – Cable Cars Overview
- San Francisco Cable Car Museum
- National Park Service – Historic Landmark Info
- Britannica – Cable Car History
- History.com – Invention of Cable Cars
Explore the latest in innovation, AI, gadgets, startups, and digital trends in STM Daily News’ Techsection.
Last Updated on April 2, 2026 by Daily News Staff
🕒 [UPDATE] Orion Performs Translunar Injection Burn
The spacecraft has completed its critical engine burn, sending Artemis II on a trajectory toward the Moon. This marks the official start of its deep space journey.
Artemis II Successfully Launches
CAPE CANAVERAL, Fla. — NASA has successfully launched its Artemis II mission, marking the first crewed journey toward the Moon in more than 50 years.
The powerful Space Launch System (SLS) rocket lifted off from Kennedy Space Center on April 1, carrying four astronauts on a 10-day mission around the Moon and back.
On board are Commander Reid Wiseman, Pilot Victor Glover, Mission Specialist Christina Koch, and Canadian astronaut Jeremy Hansen. The mission is already being hailed as a major milestone in NASA’s effort to return humans to deep space.
Shortly after liftoff, the Orion spacecraft successfully reached orbit and deployed its solar arrays, beginning its journey that will eventually send the crew on a translunar trajectory toward the Moon. 
Artemis II is a lunar flyby mission, meaning astronauts will not land but will travel farther from Earth than any human mission in decades while testing critical systems needed for future landings.
The mission also marks several historic firsts, including the first woman and the first person of color—Victor Glover—to travel into lunar space.
NASA says the mission is a key step toward future lunar landings and long-term plans to establish a human presence on the Moon later this decade.
🛰️ Artemis II Mission Timeline
The 10-day Artemis II mission follows a carefully planned trajectory from Earth to the Moon and back:
- Day 1: Launch and Earth orbit
- Day 1–2: Translunar injection burn
- Days 2–4: Deep space travel
- Days 4–5: Lunar flyby
- Days 5–8: Return to Earth
- Days 9–10: Reentry and splashdown
For official updates and in-depth mission details, visit the following trusted sources:
- NASA: Artemis II Mission Overview
- NASA Artemis Program (Return to the Moon)
- Orion Spacecraft – Mission Details
- Space Launch System (SLS) Rocket Overview
- Kennedy Space Center – Launch Operations
- Watch NASA Live Coverage and Replays
🧾 Sources
- NASA official launch coverage and mission updates
- NASA Artemis II press materials and briefings
- NASA Kennedy Space Center launch operations updates
Stay with STM Daily News for live updates on Artemis II.
Feeding America is marking National Agriculture Day by recognizing farmers, ranchers, and producers as key partners in the fight against hunger.
In a March 24 press release, the organization said the agricultural community plays a vital role in helping food banks and pantries deliver fresh, nutritious food to families across the country. Feeding America noted that produce, dairy, and protein are among the most requested foods by neighbors facing hunger and make up half of all food distributed through its network.
The organization said that in 2025, its network worked with growers to rescue 971 million pounds of fresh produce, helping redirect surplus food to communities in need. Feeding America also pointed to federal nutrition and farm support programs, saying government purchases from U.S. growers provide more than 20% of the food distributed through its network.
Ami McReynolds, Feeding America’s chief advocacy and community partnerships officer, said supporting farmers is directly connected to helping families access healthy meals. The organization is also urging Congress to support additional farm aid and a Farm Bill that strengthens nutrition programs.
Feeding America said a recent poll found that 95% of voters view hunger as a nonpartisan issue, reinforcing support for collaborative solutions between agriculture, food banks, and policymakers.
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The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
https://stmdailynews.com/the-bridge
