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.
unknown
Did Jackie Gleason See Aliens? Inside the Strange Nixon–UFO Legend
Jackie Gleason reportedly told his wife that President Richard Nixon arranged for him to view preserved extraterrestrial bodies at a Florida Air Force base. Here is what we know—and why the remarkable story remains unverified.
The beloved comedian reportedly told his wife that President Richard Nixon arranged for him to view preserved extraterrestrial bodies at a Florida Air Force base. Decades later, the extraordinary story remains fascinating—but unverified.
Jackie Gleason is remembered as “The Great One,” the larger-than-life entertainer who turned bus driver Ralph Kramden into one of television’s most enduring characters on The Honeymooners. Away from the cameras, however, Gleason had another consuming interest: UFOs, psychic phenomena and the possibility of extraterrestrial life.
That interest eventually became the foundation of one of the strangest stories ever associated with an American president and a Hollywood celebrity. According to Gleason’s second wife, Beverly McKittrick, her husband came home late one night in 1973 and claimed that President Richard Nixon had helped him see the preserved bodies of extraterrestrial beings at Homestead Air Force Base in Florida.
Did Jackie Gleason really see aliens?
The honest answer is that we do not know. The allegation is remarkable, but the available evidence never rises above an uncorroborated story attributed to Gleason years after the supposed event.
Gleason’s fascination with UFOs was real
There is little question that Gleason took the UFO subject seriously. He reportedly assembled a substantial personal library devoted to UFOs, the paranormal and related mysteries. His unusual circular home in New York—often nicknamed “The Mothership”—only strengthened his public association with flying saucers, although its distinctive architecture is not evidence of an extraterrestrial encounter.
Gleason also had a genuine social connection with Nixon. The two men shared an interest in golf and spent time together in Florida. That documented friendship is the factual starting point from which the more sensational story grew.
The alleged trip to Homestead Air Force Base
McKittrick said that Gleason returned to their Florida home at about 11:30 one evening looking disturbed. According to her account, he told her that Nixon had arrived without the usual presidential entourage and taken him to Homestead Air Force Base, south of Miami.
Once there, Gleason allegedly entered a secured building where he saw small humanoid bodies preserved inside glass-topped containers. Published versions differ over the number of bodies and some physical details, but they generally describe child-sized beings with oversized heads.
Importantly, McKittrick did not claim to have accompanied the men or witnessed anything at the base. Her account was based entirely on what she said Gleason told her after returning home.
The story became public in 1983, years after the alleged visit and after the couple had divorced. It circulated widely through tabloid reporting, UFO publications and later books, gradually becoming part of UFO folklore.
Why the story remains unverified
No authenticated photograph, visitor record, military document or firsthand statement from Nixon has emerged to confirm the alleged trip. Gleason also never provided investigators with a signed affidavit describing the experience.
UFO researcher Larry Bryant reportedly sought records from Homestead and tried to obtain a statement from Gleason, but those efforts produced no confirming documentation. Gleason’s refusal to address the account publicly has sometimes been portrayed as suspicious, but silence is not proof that an event occurred.
There is another important complication: McKittrick later expressed uncertainty about her former husband’s story.
During telephone interviews conducted by researcher Kenny Young in 2003, she stood by her recollection that Gleason told her he had seen “dead aliens.” She also acknowledged that, as the years passed, she wondered whether he might have invented the explanation because he had been out late. She declined to appear on camera and said the story should be authenticated first.
Her later comments do not establish that the account was false, but they considerably weaken any attempt to treat it as verified history.
Could a president have slipped away unnoticed?
Some versions of the legend emphasize that Nixon supposedly drove to Gleason’s house alone and then entered a military installation without his Secret Service detail. Presidents have occasionally sought privacy or slipped away from tightly managed schedules, but a secret nighttime excursion of this nature would have involved serious security and logistical obstacles.
The claim becomes even more difficult to accept when we consider what Nixon allegedly revealed. If the United States possessed extraterrestrial bodies, granting a comedian personal access to them would have represented an extraordinary breach of national security—with no apparent official purpose and no surviving documentation.
None of that makes the episode logically impossible. It does, however, mean that the story requires exceptionally strong evidence. That evidence has never appeared.
A compelling legend, not a confirmed encounter
The Jackie Gleason story endures because it combines three irresistible ingredients: a famous comedian fascinated by UFOs, a secretive American president and a nighttime visit to a military base containing an alleged government secret.
What can be established is that Gleason was deeply interested in UFOs, knew Nixon and was said by his former wife to have made an extraordinary claim. What cannot be established is that Nixon took him to Homestead Air Force Base or that preserved extraterrestrial bodies were ever stored there.
So, did Jackie Gleason see aliens?
Perhaps he believed that he did—or perhaps he simply told an unforgettable story. Until corroborating evidence emerges, the alleged encounter belongs in the intriguing borderland between celebrity history and American UFO mythology.
Sources and further reading
- The Black Vault: Jackie Gleason and the Pickled Alien
- University of Miami Libraries: The Jackie Gleason Collection
- U.S. Department of Defense: All-domain Anomaly Resolution Office
Step into The Unknown, where STM Daily News explores the strange phenomena, unexplained encounters and enduring mysteries that continue to challenge what we think we know. From UFO sightings and paranormal events to historical mysteries and unusual scientific discoveries, we examine the stories, evidence and competing explanations—without losing our sense of wonder. https://stmdailynews.com/science/unknown/
Community
PenFed Foundation Raises Over $1.2M for Veterans and Military Families at 23rd Annual Military Heroes Golf Classic
The PenFed Foundation says it raised over $1.2 million for veterans and military families at its 23rd annual Military Heroes Golf Classic.
The PenFed Foundation for Military Heroes said it raised more than $1.2 million to support veterans and military families during its 23rd annual Military Heroes Golf Classic, held Monday, Aug. 31, according to a PRNewswire release. The nonprofit, based in the Washington, D.C. region, focuses on helping veterans transition “from service to success” through programs and grants aimed at military-connected communities.
“We are deeply grateful to our partners and supporters whose generosity and dedication make this event—and the Foundation’s work—possible,” said retired Air Force Lt. Gen. Bradford J. “B.J.” Shwedo, president of the PenFed Foundation, in a statement announcing the fundraising total.
At a dinner held the night before the Golf Classic, PenFed Credit Union President/CEO and PenFed Foundation CEO James Schenck recognized Ed Cody for 25 years of service on the foundation’s board of directors. Cody also serves as chairman of the PenFed Credit Union board and was credited with helping guide initiatives including Defender’s Lodge, the Afghan Rescue and Resettlement Program, the Veteran Entrepreneur Program, and grants supporting wounded, ill, and injured service members.
The foundation said it has provided more than $55 million in financial support to veterans, active-duty service members, and military families since it was founded in 2001. It also noted that PenFed Credit Union covers salaries and administrative costs, allowing more donations to go directly to programs.
What to watch for: How the foundation allocates the new $1.2M across its veteran transition and emergency support programs—and whether it announces new grant rounds tied to entrepreneurship and resettlement work.
SOURCE PenFed Foundation
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Entertainment
Apple Music Super Bowl LX Halftime Show Starring Bad Bunny Wins 7 Emmys, Sets New Record
Executive produced by Roc Nation and JAY-Z, the show becomes the most-awarded halftime production in Emmy history.
The Apple Music Super Bowl LX Halftime Show starring Bad Bunny took home seven Emmy Awards at the 78th Emmy Awards, making it the most-awarded Super Bowl halftime show in Emmy history, according to Roc Nation. The live spectacle—executive produced by Roc Nation and JAY-Z—won across major production categories, underscoring how the halftime stage has evolved into a full-scale, awards-caliber live television event.
The record-setting wins included Outstanding Variety Special (Live), Outstanding Music Direction, Outstanding Directing for a Variety Special, Outstanding Choreography for Variety or Reality Programming, Outstanding Sound Mixing for a Variety Series or Special, Outstanding Lighting Design/Lighting Direction for a Special, and Outstanding Technical Direction and Camerawork for a Special. Roc Nation also noted the show set a global viewership record, pulling 4.157 billion views in 24 hours across global broadcast, YouTube, and social platforms.
Beyond the trophies and viewership numbers, the halftime show leaned into big-name star power with special guest performers Lady Gaga and Ricky Martin, plus additional appearances from Karol G, Cardi B, Jessica Alba, Pedro Pascal, Young Miko, and others. The sweep signals not just a win for the artists on stage, but for the behind-the-scenes creative teams turning the halftime show into one of the most technically ambitious live productions on television.
What to watch for: With Emmy recognition now firmly in the conversation, expect future halftime shows to push even harder on cinematic staging, choreography, and broadcast innovation—because the bar (and the awards) just got higher.
Source: Roc Nation (PRNewswire), Sept. 6, 2026
Link to original press release: https://prnmedia.prnewswire.com/news-releases/the-apple-music-super-bowl-lx-halftime-starring-bad-bunny–executive-produced-by-roc-nation–jay-z-wins-seven-emmys-302870842.html
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