Melton - “Cora Unashamed”
Langston Hughes illuminates, “Melton was one of those miserable in-between little places, not large enough to be a town, nor small enough to be a village -- that is, a village in the rural, charming sense of the world. Melton had no charm about it. It was merely a nondescript collection of houses and buildings in a region of farms -- one of those sad American places with sidewalks, but no paved streets; electric lights, but no sewage; a station, but no trains that stopped, save a jerky local, morning and evening. And it was 150 miles from any city at all -- even Sioux City.” Melton’s cheerlessness and imperfect charm supplements the explicit racism that administers the interrelationships between the populaces. Melton is essentially tumbledown due to the unattainability of prerequisite amenities. Furthermore, the extensive aloofness renders it a principally unrestrained locality.
The Passing - “Passing”
The ‘passing’ is pre-emptive; hence, one would not discriminate the link between Jack and his mother: “ Ma, I felt mighty bad about last night. The first time we’d met in public that way. That’s the kind of thing that makes passing hard, having to deny your own family when you see them.” Jack is acquainted with his duplicity, although he endeavors to vindicate it. The ‘passing’ is administered by duplicity, self-importance and repudiation; Jack comports himself like an alien to avoid illuminating his blackness which would solidify his subsidiarity subsequently.
