Some scholar work recently published about Jean Rhys's Wide Sargasso Sea:
Nesbitt, Jennifer P. "Rum Histories: Decolonizing the Narratives of Jean Rhys's Wide Sargasso Sea and Sylvia Townsend Warner's The Flint Anchor."
Tulsa Studies in Women's Literature, Vol. 27, No. 2 (Fall 2007), 309-330.
Russell II, Keith A. “‘Now Every Word She Said Was Echoed, Echoed Lodly in My Head’: Christophine’s Language and Refractive Space in Jean Rhys’s Wide Sargasso Sea”
Journal of Narrative Theory, Volume 37, Number 1 (Winter 2007) pp. 87-103
Christophine's provocative role in Jean Rhys's Wide Sargasso Sea has generated a tremendous quantity of inquiry: the turn to Christophine arose largely out of debate over Spivak's watershed essay "Three Women's Texts and a Critique of Imperialism" from 1985. Spivak ignited a firestorm in Rhys criticism with her oft-quoted passage: Christophine is tangential to this narrative. She cannot be contained by a novel which rewrites a canonical English text within the European novelistic tradition in the interest of the white Creole rather than the native. No perspective critical of imperialism can turn the Other into a self, because the project of imperialism has always already historically refracted what might have been the absolutely Other into a domesticated Other that consolidates the imperialist self. (253) It is difficult to find an analysis of Christophine since 1985 that does not use Spivak as a point of entry...
And some other maybe not so scholar but also interesting: An excellent post on
It was Evening all Afternoon and a painting by
Heather L. Young inspired by the novel:
Inspiration for this painting came from the book, Wide Sargasso Sea, by Jean Rhys.
"After Mr. Mason clipped his wings he grew very bad tempered, and though he would sit quietly on my mother's shoulder, he darted at everyone who came near her and pecked their feet." --Wide Sargasso Sea
Categories: Art-Exhibitions, Scholar, Wide Sargasso Sea
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