Download Jean Rhys, Voyage in the Dark

Jean Rhys, Voyage in the Dark
A transnational feminist text?
Spatial and temporal co-ordinates of
the novel
London at the turn of the 20th c
• Capital city/World city
• Capital in both senses of the world:
Pre-eminent city of England; centre of capital
its wealth and grandeur created by the Industrial
Revolution, but also crucially by its colonies
(plantations in the Caribbean, colonization of India
and Africa) brought amazing amounts of wealth to
the capital city
-Global finance and trade but also world cultures
(empire exhibitions since the 19th c; the British
Museum; the anthropological societies)
London Images
Crystal Palace, 1851
British Empire Exhibition, 1924
Wembley
Shopping and fashion
The fog of London
Voyage in the Dark
• Recall the opening sequences of Conrad’s Heart of
Darkness (Rhys’s novel’s title can be seen as registering
that narrative—London as the space of darkness for
the colonized subject)
• Within a geometric imagination, the city is figured as a
series of concentric circles. In the inner circle, the
masculine sphere constitutes the center of power in
the city, with the women at the periphery. In the global
sphere, the European city constitutes the core of the
empire, its colonies the periphery. These very
geometrics of modernist urbanism and imperialism are
mapped and then unraveled in Rhys’s novel
London/Caribbean
-situated at the intersection of colonial and
postcolonial worlds, the latter haunting the
former, the former displaced on to future
dreams of difference erupting in the metropolis
-The Caribbean appears as an alley in London—
its smells, colours, taste (Francine’s eating
mango—sensual image vs the stale breakfast
trays in bedsits) and heat in contrast with the
coldness and dankness, greyness and
colourlessness of London
Gendering the city
• The flaneur: a stroller, a man of leisure in the
city (idler), a dandy, an urban explorer. A
literary type in French literature, viz. poetry of
Charles Baudelaire (1821-1867). Theorised in
the work of Walter Benjamin, as the
quintessential figure of modern/ist capitalism.
Walking/Mapping/Self-fashioning
• the novel represents reading, walking and mapping as interlinked
urban social practices framed within a global imperial system
• female labor in the city, or women’s work more generally, as a
critical counterpoint to the capitalist arrangements that
underpinned the modernist city; the flaneur, the man about town,
embodied modernist anxieties about intellectual labor (elaborated
through the elision of domestic and sexual labor), the labor of
fashioning oneself as a modern subject in the city is gendered.
• working-class women involved in increasingly alienated sexual labor
in the service of the capitalist urban machine.
• Oiling this machine are men with new money, engaged in Citybased transnational transactions that operate alongside, if not
entirely depend on, the traffic in the underclass of women.
Modernist city/subjectivity
• Modernist urbanism—crossed over by colonial history
• Novel written against “standard urban narratives”
• Voyage in the Dark seeps into the interstices of literary
modernism’s representations of the city--masculine and
feminine modernities as disjunctive and differentially
available to literary representation.
• through the figuration of alternative, dissident bodies that
challenge hegemonic narratives of modernist urbanism.
Rhys interpolates her protagonist Anna's sexual, economic
and ultimately political body within the spaces of London in
order to insert, quite materially, the question of women’s
materiality within the framework of colonial capitalism.
Transnational Time
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Early 20th c
War/colonialism
Modernity/modernism
Sense of break with the past; fragmentation of
time; past-present-future: discontinuous
Ruptures and discrepancies
• The radicalizing moment of the years preceding
World War I (without naming it) and its attendant
rupturing of social, especially gendered meanings
of public and private, capital and labor, colonial
power and class struggles.
• Rhys’s modernism consists of elaborating these
various discrepant realities (in modernist fashion,
the discrepancy is apprehended as an opposition
between the inner world of the protagonist and
an uncomprehending, seemingly messy objective
reality)
Jean Rhys, a transnational biography
Rhys
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Rhys’s biography (personal and writerly) itself is transnational:
In 1907, at the age of sixteen, Rhys left her family in the Caribbean and arrived in England. She
spent the years leading up to World War I and the subsequent wartime years in London, returning
to the city again after spending the decade of the 1920s in Paris.
mixed national heritage as a white creole from Dominica, itself a hybrid, multi-layered place with its
own history of multiple colonizations and diasporic movements. Secured by the British in 1805, the
influence of French culture on Dominica remained such that the African-Caribbean majority spoke a
French patois. Here Rhys was part of a small Protestant elite in a majority Catholic culture. She
went to a Catholic school where whites were in a minority.
The daughter of a Welsh father (whose own mother was Irish), Rhys referred to her cultural origins
as “pseudo-English” in her memoir Smile Please.
Perhaps as an extension of this, Rhys also occupied an ambiguous place within the racial and sexual
demarcations of the imperial metropolis.
Views of the Caribbean in the metropole associated it with degeneracy, vulgarity, sexual immorality,
illegitimacy, as a resolutely “unEnglish kind of place”. In particular, white creole women, the West
Indian heiresses, were likened to the figure of the Hottentot Venus, a nineteenth century racialized
vernacular image for pathologically sexualized women.
The most celebrated literary example of a white creole woman who meets a tragic fate is of course
the crazed Bertha of Charlotte Bronte’s Jane Eyre—violent, bestial, degenerate and transgressive of
Victorian codes of femininity and domesticity.
Liminal Rhys
• Rhys continually contests boundaries of identity, nation and culture.
• in her memoir, Smile Please, Rhys represents herself as an alienated and
reviled stranger in the imperial heartland.
• Ford Madox Ford identified Rhys’s national origin as the source of her
peripheral vision of the imperial metropolis: “Coming from the Antilles,
with a terrifying insight, and a terrific—an almost lurid!—passion for
stating the case of the underdog, she has let her pen loose on the Left
Banks of the Old World—on its gaols, its studios, its salons, its cafes, its
criminals, its midinettes…”.
• Helen Carr poinst out that “as a white creole from Dominica she was ‘West
Indian’ in a different way…” Kenneth Ramchand writes of the historical
predicament of the white creole as consisting of a “terrified
consciousness” emanating from a sense of belonging to nowhere. Judith
Kegan Gardiner notes that "on both sides of the Atlantic (Rhys) felt in the
position of a member of a racial minority living among a resentful
majority”.
Black or white
• Critics have read Rhys as a black writer, though it is unclear how
satisfied she would have been with such a classification.
• Such a critical move is complicated by the fact that as a white
descendant of slave-owners, the West Indies could never be home,
in either a moral or an existential sense, for Rhys.
• Nevertheless, Rhys’s readability as a black writer only underscores
her troubled relationship to metropolitan modernity. Rhys has thus
emerged in Anglophone modernist literary history as the
quintessential outsider figure. In particular, her female protagonists
embody this sense of being outside class, race and nationality
assignations. Thus the woman on the edge of modernist urbanism
was to become a defining figure of resistance in Rhys’s fiction.
Transnational Modernism
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Her remarkable biography weaves together dispersed geographies even as it
displaces metropolitan modernity onto the black trans-Atlantic routes of migrating
and circulating bodies, cultures, texts and commodities
Rhys has occupied a more or less peripheral position vis a vis the modernist
"tradition".
a perpetual sense of the problem of placing her within any canon, locating her
uncertain place partly in the gender politics of the modernist literary tradition,
the predominantly Anglocentric framing of Rhys’s output as a modernist writer, a
reading that gets troubled when we place her work within trans-national
European/Continental and Afro-Caribbean literary traditions, political concerns
and theoretical innovations.
Such a reading allows for modernism to be read as a trans-national movement and
project located within the imperial world system. At the same time, it can be
viewed as a dissident project aimed at interrupting the dominant routes of the
global trade in people, commodities, texts and cultures through the insertion of
the peripheries as important centers of artistic activity, creative sensibilities and
revolutionary energies.