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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.
Urbanism
LA Metro’s D Line Extension Phase 1 Officially Opens, Bringing Subway Service to Mid-Wilshire and Beverly Hills
LA Metro’s D Line Extension: LA Metro officially opens Phase 1 of the D Line Subway Extension, connecting Downtown Los Angeles, Mid-Wilshire, and Beverly Hills with three new underground stations.
The future of transportation in Los Angeles has officially arrived.
LA Metro’s D Line Extension Phase 1 Officially Opens
The Los Angeles County Metropolitan Transportation Authority (Metro) officially opened Section 1 of the long-awaited D Line Subway Extension on May 8, 2026, expanding underground rail service westward through the historic Mid-Wilshire corridor and into Beverly Hills.
The 3.92-mile extension is one of Metro’s most ambitious transit infrastructure projects and marks a major milestone in Los Angeles public transportation. The new section extends subway service beyond the current Wilshire/Western station in Koreatown and introduces three new underground stations:
- Wilshire/La Brea
- Wilshire/Fairfax
- Wilshire/La Cienega
The expansion is part of Metro’s larger “Twenty-Eight by ’28” initiative designed to improve mobility across the region ahead of the 2028 Olympic and Paralympic Games.
Downtown Los Angeles to Beverly Hills in About 20 Minutes
With the extension now open, riders can travel from Union Station in Downtown Los Angeles to Beverly Hills in approximately 20 minutes with no transfers required.
The D Line extension is expected to significantly improve travel along the heavily congested Wilshire Boulevard corridor, offering commuters, visitors and residents a faster and more reliable alternative to driving.
“Traveling through Mid-Wilshire to experience the culture, cuisine and commerce across diverse neighborhoods will be easier, faster and more accessible,” said Fernando Dutra, Metro Board Chair and City of Whittier Council Member.
Metro CEO Stephanie Wiggins also highlighted the importance of the project in connecting Angelenos to some of the city’s most iconic destinations.
“Angelenos and visitors alike will love the extended service from Downtown Los Angeles to Beverly Hills, delivering greater access to the iconic and culturally diverse communities, institutions and destinations that define the deep history along Wilshire Boulevard,” Wiggins said.
New Stations Connect Riders to Cultural Landmarks
Wilshire/La Brea Station
Located near Hancock Park and the western edge of Koreatown, the station provides access to cultural and entertainment destinations including:
- Korean Cultural Center
- Marciano Art Foundation
- Ebell Theater
- Popular restaurants including Republique and Sycamore Kitchen
Wilshire/Fairfax Station
Known as the heart of Museum Row, this station serves some of Los Angeles’ most recognizable cultural institutions and attractions, including:
- Los Angeles County Museum of Art (LACMA)
- Academy Museum of Motion Pictures
- Petersen Automotive Museum
- La Brea Tar Pits
- The Grove
- Original Farmers Market
The station also connects neighborhoods including Little Ethiopia, Park La Brea and the historic Fairfax District.
Wilshire/La Cienega Station
Serving as the eastern gateway to Beverly Hills, the station provides convenient access to Restaurant Row and destinations including the Beverly Center.
A Major Milestone for Los Angeles Transit
The D Line extension has been decades in the making and is widely considered one of the most important transit projects in Los Angeles history.
The project was funded primarily through Measure R, the voter-approved transportation sales tax passed in 2008, along with substantial federal funding support that included:
- $1.25 billion Full Funding Grant Agreement (FFGA)
- $66.4 million supplemental New Starts funding
- $749.3 million TIFIA loan
All three stations feature modern amenities including public artwork, enhanced lighting, cell phone service, bicycle hubs and improved pedestrian access.
Metro officials hope the extension will encourage more residents and visitors to use public transportation while helping reduce roadway congestion ahead of major international events scheduled for Los Angeles later this decade.
What’s Next for the D Line?
Construction is already underway on future phases of the D Line extension.
Phase 2 will continue west into Beverly Hills and Century City, while Phase 3 will eventually extend subway service to UCLA and the West Los Angeles VA campus.
Once completed, the D Line will provide a direct subway connection between Downtown Los Angeles and the Westside, dramatically reshaping mobility across one of Southern California’s busiest corridors.
Learn More
For official project details and station information, visit:
Metro D Line Opening Information
Stay connected with STM Daily News for the latest updates on Los Angeles transportation, Metro expansion projects, infrastructure developments, local news, technology, culture, and more. Visit STM Daily News for breaking stories, in-depth coverage, and exclusive content from across Southern California and beyond.
Last Updated on May 4, 2026 by Daily News Staff
Cinco de Mayo is a holiday that commemorates the Mexican army’s victory over the French Empire at the Battle of Puebla on May 5, 1862. In the United States, the holiday has become a celebration of Mexican-American culture and heritage, often involving parades, parties, and traditional foods such as tacos and margaritas.
How will you celebrate Cinco de Mayo?
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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.
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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