Quicksand

Helga is unable to resolve interpersonal conflicts that inevitably arise within relationships; she notes that she had “no talent for quarreling [and] when possible she preferred to flee” (8). The cycle of Helga’s relationship patterns is formulaic: she initially holds the individual (e.g., Anne Gray) in almost superhuman esteem. As time goes on, she finds herself somewhat irritated by the foibles of the other individual. When the possibility of a minor dispute arises, Helga relocates to another locale. 

This abrupt pattern of departure is first observed in Naxos. Upon her annoyance with the racist nature of a sermon delivered by a white minister there, Helga makes the decision to abruptly terminate her employment, and engagement to be married. The repercussions of her hasty departure (leaving her students mid-term; failing to provide James Vayle with a sufficient explanation) are of little consequence to Helga once her decision is made. The train trip to Chicago represents her first hasty flight; the ship back and forth to Copenhagen represents subsequent flights to emotional “freedom” for Helga. Similar circumstances occur: she becomes dissatisfied with her life and job in Harlem; the opportunity to re-locate is presented, and Helga flees to Denmark. Her decision to return to New York represents one of escape from emotional tension in her aunt’s home upon Helga’s rejection of a marriage proposal. Emotional detritus is always left in her path, but her instinct to withdraw and relocate supersedes all.