Jean Rhys was born in Dominica, one of the
Windward Islands in the Caribbean, in 1890.
The daughter of a Welsh doctor and a white Creole mother, Rhys grew
up in the final days of England's colonial heyday, a time that witnessed
the waning of an aristocratic and exploitative Creole culture. Her
parents' heritage situated Rhys between two competing ideologies—one
that sought to exoticize Caribbean life and one that incorporated
the racial pluralism of West Indian values. Rhys was further influenced
by the black servants who raised her and introduced her to the language,
customs, and religious beliefs of the native Caribbeans.
While Wide Sargasso Sea reflects the
distinct sensibilities of a West Indian writer, it also bears the
stamp of European modernism. At sixteen, Rhys left her home in Dominica
and moved to England, aligning herself more closely with her father's
Welsh heritage. A feeling of displacement that characterizes both
Rhys's own life and the lives of her characters left her unable
to root herself to her ancestors' home.
Throughout the 1920s,
Rhys traveled in Europe as a bohemian artist, living sporadically
in Paris, where she became familiar with the innovative works of
modern artists and writers. This period of wandering placed Rhys
on the outskirts of conventional society. Thus marginalized, she
began to question the codes and traditions of the male-dominated
urban environment. Plagued by poverty, illness, and alcoholism,
she felt firsthand the psychological and physical toll of being
a single woman in a patriarchal culture—a theme she explores in
much of her writing.
Rhys's first four novels—Postures or Quartet (1928), After Leaving
Mr. Mackenzie (1930), Voyage
in the Dark (1934),
and Good Morning Midnight (1939)—mirror
her own life, with heroines who lead drifting, alienated lives as
stigmatized outsiders. While these early novels met with some success,
they never went far in establishing Rhys as a leading European modernist.
With some reluctance, Rhys settled down in England, a
country for which she felt little fondness. She more or less disappeared
from the literary scene until the 1960s,
when her work was rescued from obscurity. The 1966 publication
of Wide Sargasso Sea, twenty-seven years after
the appearance of her last novel, reflects the culmination of her
earlier heroine sketches, while shifting focus away from an industrial
European context and back to a nineteenth-century Caribbean landscape.
When Rhys read Charlotte Brontë's Jane Eyre as
a young girl, she began to imagine the Caribbean upbringing of the
character Rochester's infamous Creole wife, Bertha Mason. Years
later, Rhys recalled, "I thought I'd try to write her a life." The
result is one of literature's most famous prequels, a novel that
seeks to humanize the racially pejorative characterization of a
West Indian madwoman. An aesthetic experiment in modernist techniques
and a powerful example of feminist rewriting, Wide Sargasso
Sea gives voice to a marginalized character and transforms
her original tragic demise into a kind of triumphant heroism.
As a West Indian writer, Rhys seeks to uncover an alternate
truth, exposing the limits of a literary canon that assumes a shared
white heritage in its audience. She writes this conflict into the
very dialogue of her novel, creating, in the characterization of
Mr. Mason, an unflattering picture of patriarchal entitlement. When
Annette describes her sister's marital problems—specifically her
husband's tyrannical behavior—Mr. Mason responds coldly "That's
her story. I don't believe it"; he effectively silences the Creole
woman's voice. Rhys aims to restore this voice with her text. She
intended Wide Sargasso Sea to stand on its own,
apart from Brontë's novel, as a challenge to the canon.
If Rhys's novel breaks thematic conventions by foregrounding the
story of Antoinette / Bertha, it also innovates stylistically, adopting
narrative, temporal, and aesthetic schemes that reflect a cultural and
racial pluralism. Entrenched in the literary concerns of the mid-twentieth
century, Wide Sargasso Sea features a web of symbols
and images that underlies its dream- like plot and informs its feverish snatches
of dialogue. Delving into the psyche of her principal characters,
Rhys examines their fragmented identities and unconscious fears,
focusing on an inner world that mirrors the impressions of an evocative
physical landscape. The tripartite structure of the novel, with
its shifts in narrative voice and jumps through time and space, affords
the book a complex, porous surface that differs markedly from the
linear progression found in its nineteenth-century counterpart.
Championed by postcolonial, feminist, and modernist critics alike, Wide
Sargasso Sea struggles against dominant traditions and espouses
the cause of the under-represented.
Wide Sargasso Sea has generated heated
debate among these literary critics, resisting easy categorization
within the context of twentieth-century fiction. As a postcolonial
work, the novel indicts England's exploitative colonial empire,
aligning its sympathies with the plight of the black Caribbeans.
However, Rhys's narrator—a white Creole—remains a step removed from
racial oppression, and struggles primarily against the dictates
of patriarchy. For this reason, the character is a touchstone for
feminist theorists. That Wide Sargasso Sea is a
rewriting of Jane Eyre—a text long upheld as a
triumph of feminist liberalism—complicates the feminist debate. Rhys's
text also invites psychoanalytic readings, through its experimentation
with narrative and exploration of the unconscious. In its formal
techniques and thematic sources, Rhys's novel incorporates modern
and postmodern devices of fragmentation, while drawing, at times,
on Romantic notions of sublimity, passion, and the supernatural.
