This chapter focuses on the Black body in the narrative genre of passing literature, which combines issues of embodiment with those of visuality. It begins by arguing that, whereas recent literary culture habituates us to immediacy, access, and confession, the passing plot operates on different terms. At a moment when many artists and critics are arguing for the importance of opacity to relational frameworks, the passing plot comes into focus as a special testing ground for viewing racialized embodiment and ethical sociality in fresh ways. The chapter goes on to argue that just as the passing plot proves a rich container for considering the ethics of relation, dramatic literature offers a particularly productive platform for considering passing literature today. My case study for these claims is Branden Jacob-Jenkins’s play An Octoroon (2014). A metatheatrical riff on a prominent nineteenth-century melodrama called The Octoroon (1859), the play avoids conveying some intimate truth about racial embodiment – the secret ostensibly kept by the passing figure – in order to offer new opportunities for Jacobs-Jenkins’s audience to become aware of their embodied participation in acts of racialization.