The tragic mulatto is a stereotypical fictional character that appeared in American literature during the 19th and 20th centuries, starting in 1837. The "tragic mulatto" is a stereotypical mixed-race person (a "mulatto"), who is assumed to be depressed, or even suicidal, because they fail to completely fit in the "white world" or the "black world". As such, the "tragic mulatto" is depicted as the victim of the society that is divided by race, where there is no place for one who is neither completely "black" nor "white". Tragic mulatta The female "tragic octoroon" was a stock character of abolitionist literature: a light-skinned woman, raised in her father's household as though she were white, until his bankruptcy or death has her reduced to a menial position and sold. She may even be unaware of her status before being so reduced. This character allowed abolitionists to draw attention to the sexual exploitation in slavery; and unlike the suffering of the field hands, did not allow slaveholders to retort that the sufferings of Northern mill hands were no easier, since the Northern mill owner would not sell his own children into slavery. The "tragic mulatta" figure is a woman of biracial heritage who endures the hardships of Africans in the Antebellum South, even though she may look white enough that her ethnicity is not immediately obvious. As the name implies, tragic mulattas almost always meet a bad end. Lydia Maria Child's 1842 short story "The Quadroons" is generally credited as the first work of literature to feature a tragic mulatta, to garner support for emancipation and equal rights. Child followed up "The Quadroons" with the 1843 short story "Slavery's Pleasant Homes", which also features a tragic mulatta character. Writer Eva Allegra Raimon notes that Child "allowed white readers to identify with the victim by gender while distancing themselves by race and thus to avoid confronting a racial ideology that denies the full humanity of nonwhite women." The passing character, Clare Kendry, in Nella Larsen's Passing has been deemed a "tragic mulatta". Generally, the tragic mulatta archetype falls into one of three categories: A woman who can "pass" for white attempts to do so, is accepted as white by society and falls in love with a white man. Eventually, her status as a bi-racial person is revealed and the story ends in tragedy. A woman who appears to be white and thus passes as