Pauline Hopkins' novel "Of One Blood" was originally serialized in a magazine called Colored American, from 1902 to 1903. In this novel, Hopkins discusses some of the most significant racial and gender oppressions experienced by African Americans during this era. Following the Emancipation Proclamation of 1849 which resulted in the liberation of African Americans from slavery, but unfortunately not freedom from oppression and suffering. One of the minor characters and the only dominant female role in the novel is Dianthe Lusk. In the novel, Dianthe has many identifiers, which not only limits readers but also Dianthe's understanding of her identity. Some of these identifiers include: women or ghosts, black or white, sisters or wives, princesses or slaves, and African or Americans. However, the most important of these juxtapositions in the novel is racial identity. This article will argue that Dianthe's right to vote, through her experiences of racial identity and rape, serves to situate racial identity as a political agent rather than an agent of color. In the novel, Dianthe can be seen as both a black and white character. At the beginning of the novel, Dianthe is a beautiful, light-skinned black woman who sings in the African-American choir. However, after her train accident and her "resuscitation", she suffers from retrograde amnesia and forgets her identity. When he wakes up, Rauel and Aubrey are there to impose the identity of Felice Adams (a white woman) on him. After imposing this change in racial identity, Rauel and Aubrey observe Dianthe: "they noted her perfect manners, the ease and good breeding manifested in all her dealings with those socially above the level at which they knew this girl was nee. She accepted the luxury of her environment as that of a born manner. Dianthe, a black woman who carries out activities stereotypical of black women through the example of the choir