STM Blog
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.
The Knowledge
So, Here’s the Story of Mound Bayou, Mississippi
Discover the inspiring history of Mound Bayou, Mississippi — one of America’s most successful Black-founded towns and a symbol of resilience, freedom, and progress.
Last Updated on June 9, 2026 by Daily News Staff
Did you know there was once a thriving Black-founded town in the Mississippi Delta built on the dream of freedom, self-reliance, and opportunity?
Mound Bayou
Founded in 1887 by Isaiah T. Montgomery and Benjamin T. Green, Mound Bayou, Mississippi became one of the most successful all-Black communities in American history. Established just decades after the Civil War, the town represented hope during a time when racial segregation and violence dominated much of the South.
Mound Bayou quickly grew into a center of Black business, education, healthcare, and agriculture. Residents built schools, churches, newspapers, banks, and medical facilities, proving that economic independence and community leadership could flourish despite enormous challenges.
The city even gained national attention from leaders like Booker T. Washington and President Theodore Roosevelt, who recognized Mound Bayou as a symbol of progress and determination.
During the Civil Rights era, the town also played a role in the fight for justice, particularly through the work of Dr. T.R.M. Howard following the murder of Emmett Till.
Today, Mound Bayou stands as a powerful reminder of resilience, entrepreneurship, and a chapter of American history that deserves far more recognition.
Now you know.
Here are some related article links you can include at the bottom of your STM Daily News post for further reading:
Related Articles & Further Reading
• The Official History of Mound Bayou
https://www.cityofmoundbayou.com/our-history
• Mound Bayou: The Historic Black Community in Mississippi
https://en.wikipedia.org/wiki/Mound_Bayou,_Mississippi
• The Historic Bank of Mound Bayou
https://en.wikipedia.org/wiki/Bank_of_Mound_Bayou
• The Legacy of Dr. T.R.M. Howard and Civil Rights Activism
https://www.cityofmoundbayou.com/our-history
• How Mound Bayou Became Known as “The Jewel of the Delta”
https://cityofmoundbayou.com/
• Community Discussion About Mound Bayou’s History
https://www.reddit.com/r/BlackHistoryPhotos/comments/1ta0r2e/famous_allblack_american_cities_towns_mound_bayou/
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Entertainment
Life isn’t all diamonds – money and fame don’t shield the many ‘Real Housewives’ facing criminal charges
“The Real Housewives” is more than messy drama—it’s a crash course in real-world crime, as cast members face charges from DUIs and theft to fraud, assault, and federal prison.
C. Clare Strange, Drexel University
“The Real Housewives” reality TV series, which showcases the lives of a rotating cast of wealthy women in 11 cities in the U.S. and places in several other countries, is famous for its characters’ over-the-top drama and messy personal antics.
But there are also useful lessons that the characters’ lives and frequent run-ins with the law offer to casual observers and criminology students alike.
I developed the idea for The Real Housewives of Criminology course when I heard a story on NPR in 2023 about how the Bravo Network franchise was becoming more like a true-crime TV series.
Jen Shah, a cast member from “The Real Housewives of Salt Lake City,” had recently been sentenced to six years in federal prison for her role in a nationwide telemarketing scheme – but she wasn’t the only one on the show who met such a fate.
Many people who appear on “Housewives” share a real-life penchant for crime – from driving-under-the-influence charges and theft to fraud and assault.
During any given episode, viewers may find “Housewives” stars and their families navigating the fallout – from court dates to public shaming.
I realized that these scenes illustrate core concepts from criminal justice theory and practice as well as any textbook.
A window into the course
The course examines the criminal cases of the “Housewives” and compares them to those of the general public.
Students discuss how factors such as social class, age and race can impact people’s experiences with the justice system. At the same time, they come to understand that factors such as how serious a crime is, a person’s criminal history and the harm done to victims tend to drive case outcomes more than any other factor.
I believe that this course is especially relevant now, because it is increasingly common for undergraduate students to consume news about crime and punishment from streaming platforms and social media.
It seems there is a new “Housewife” arrest every several months, which brings with it new circumstances and a new case study to dissect.
Critical lessons
One key takeaway from the course is that there are many meaningful differences – and similarities – between the criminal cases shown in “Housewives” and those of most people.
While money and power can often go a long way in fighting a criminal conviction, sometimes they fall short when the harm to victims or society is too great, or the pattern of behavior is too obvious.
Many “Housewives” stars and their families have learned this lesson the hard way.
Read along
This course requires students to view footage from “The Real Housewives,” read peer-reviewed criminological research, and listen to podcast episodes from “The Bravo Docket.”
We even read book chapters straight from some of the Housewives’ memoirs. All of this culminates in a “Final Reunion,” meaning a final verbal exam for students, in which they embody one of the “Housewives” cast members and answer questions from me – dressed as host Andy Cohen – about their criminal cases.
Real takeaways
While the court of public opinion tends to quickly draw conclusions from limited information, my honors students learn that there is more than meets the eye when it comes to the U.S. justice system.
The Real Housewives of Criminology helps them to navigate the nuance beneath the headlines about popular crime news stories, in and beyond the “Bravosphere.”
C. Clare Strange, Assistant Research Professor of Criminology and Justice Studies, Drexel University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Blog
The Substitute Teacher Who Wanted Blueprints of Our House
A fifth-grade assignment took a strange turn when a substitute teacher asked students to draw schematics of their homes. What followed — a wildly fictional floor plan and a priceless reaction from my mom — turned into one of my funniest childhood memories.
Last Updated on June 4, 2026 by Daily News Staff
The Substitute Teacher Who Wanted Blueprints of Our House
Elementary school memories tend to blend together — cafeteria pizza, playground arguments, the eternal struggle of times tables — but every once in a while, something happens that sticks with you for life. For me, that moment came in the fifth grade during a week when our regular teacher was out, and we cycled through substitute teachers like we were testing models for durability.
By midweek, in walked a substitute with a mysterious, slightly intense energy — the kind of vibe that suggested he either meditated at dawn or worked a graveyard shift doing something he couldn’t talk about. We settled into our seats, expecting worksheets or quiet reading time.
But nope.
He had other plans.
“Today,” he announced, “we’re going to draw schematics of our houses.”
Schematics. Not drawings. Not little houses with smoke coming out of the chimney. Actual blueprint-style schematics. He wanted the layout of our bedrooms, our parents’ rooms, and where the pets slept. Every detail.
Now, to be fair, Highlights Magazine did have a feature that month teaching kids how to draw floor plans. So maybe he was just a bit overenthusiastic about cross-curricular learning. Or maybe — and this is my completely rhetorical adult theory — he worked the graveyard shift as a cat burglar gathering intel between heists. Just moonlighting between blueprints.
While the rest of the class tried their best to recreate their actual homes, my imagination sprinted in a totally different direction. The house I drew had:
- A massive master bedroom with an oversized bathroom for my parents
- Separate bedrooms for us kids on the opposite side of the house
- A kitchen placed right in the center like a command center
- And the dog — the true VIP — had a luxurious two-story doghouse
I had basically created a dream home designed by a 10-year-old watching too much Fantasy Homes by the Yard.
Later that day, my mom asked the usual question: “So, what did you guys do today?”
“We drew schematics of our house,” I said casually.
The look on her face was instant and intense. She wasn’t panicked, but there was definitely a “Why does a substitute teacher need to know the exact layout of my home?” expression happening. Parental instincts activated.
But then I showed her my diagram.
She stared at it. Blinked. Then sighed with massive relief.
“This isn’t our house,” she said.
“Nope! I made it up,” I replied proudly.
Her shoulders relaxed so much she probably lost five pounds of tension in one instant. If the substitute was secretly planning a heist, my masterpiece of misinformation would have sent him to the wrong house entirely.
Looking back, the whole moment feels like a sitcom setup — a mysterious substitute collecting “house schematics,” me creating a completely fictional piece of architecture, and my mom going on a full emotional journey in under 30 seconds.
Maybe he was just excited about the Highlights Magazine floor-plan activity. Or maybe — just maybe — he moonlighted in cat burglary. We’ll never know.
But if he was, I like to think I threw him completely off the scent.
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