I just read Jean Rhy’s “Wide Sargasso Sea.” A beautiful and poignant, and heartwrenching piece of writing. But also super political. And a talking back by a West Indies writer, against the colonialism and racism of the renowned Jane Eyre by Charlotte Bronte.
I was named after Jane Eyre. My father idealised the story of her triumph. He wished me the same. He was unable to recognize the racism that over rides the book. A British woman’s struggle to find love, to find a place in her white world, he didnt realize then, would be unapplicable, or vastly different, from my own search for fulfilment and truths.
So it means a lot to be reading Wide Sargasso Sea. Jean Rhys gives voice to Bertha, the lunatic wife of Rochester, whom he locks up in the attic because unlike him, she has wild feelings, a longing for home, a desire for sunshine. Unlike him, she is insane.
Selma James writes a review of the book. It is brief and powerful. She chronicles how Rhy’s writings of West Indies characters change, with the sociopolitical changes in England. Rhys is a white West Indies writer. Her subjectivity emerges through the wave of anti colonial revolts in the West Indies. It is not a coincidence she writes Wide Sargasso Sea at the time of mass migration from West Indies to Europe, and also at a time of anti colonial revolt. James tells us this very articulately.
Some passages that struck me. These are from Jame’s 1983 speech on Jean Rhys (p130 in Sex, Race, Class anthology)
These [earlier] novels are about how women are aliens and how, because the cards are stacked against us, we don’t stand a chance. The novels have in common the isolation, defeat and hopelessness of the heroine. Each personifies the female condition and each is a perfect victim. Unable because, being foreign, she is outside the terms of reference of the dominant culture and does not know how. Unwilling, because she will not fight for things that are withheld, nor tailor her case according to what her opponent will understand and respect, but which is not the truth, nor be brutally honest for the sole purpose of self defense […] These alien sets of standards, terms of reference, sense of proportion, leave the heroine defenseless against domination by men and exploitation by anyone.
[Rhy’s] problem is most certainly not her consciousnessness. Nothing – neither the nuance nor substantive act of social domination by men — escapes articulation. But she [her characters] does not fight back. Knowing deeply what is happening and having neither defense nor allies is a formula for suicide. “[italics are mine]
Selma identifies the difference between Antoinette Bertha’s character from the other Rhy’s heroines, and explains the context for this difference. Antoinette fights back. She burns down Rochester’s house. The man who has entrapped her, and removed her power and independence by taking her to Europe and stealing her money.
Now, something happened between Jean Rhy’s writing of novels in the 1920s and 30s and the writing of [Wide Sargasso Sea] in the 50’s (published in 1966). What happened was first, a massive movement for Third World independence and, secondly, a mass West Indian immigration into Britain. Her people had come — the Tias and the Francines and the Christophines — and they were stronger than they had been when she left them in the West Indies in the early part of the century. She would have heard English racism against them […] in 1958, the year of Nottingham and Notting Hill riots against Black people, and she wold have felt that she herself was under attack. But she would not have felt alone. This was a new source of power finally to confront all the misery and isolation that she had worked to record and articulate in her earlier novels. She had been an outcast as a woman, as a West Indian in Europe, as a white West Indian. She had ended her novels in defeat because she herself was born in defeat.
Now another power enters her writing arm. Her heroine is no longer the passive victim that history has tried to make her. Now Antoinette is able to move against the arrogant, racist and brutal metropolis and against the arrogant, racist and brutal man who personifies it — Mr. Rochester. Many years before, she had said, “I will live with Tia and be like her.” But first she had to let Tia know the terms on which she planned for them to be together. All she had offered Tia before was the domination of her white skin. But as Antoinette burns down the Great house which imprisons her — as Tia burnt down the Great House which was the center of her exploitation — Tia welcomes her home. [italics mine[
James analysis is so powerful because she traces the evolution of Rhy’s novel to the social political changes, but also to the possibilities that these changes offer up to the individual in how we navigate our selves, our identities, and also, our imaginations.
Writing about Rhys [p135], Selma says,
[In previous novels], Rhys’s heroines are the woman, the foreigner, the alien, always the same person, is taken by European readers to be European.
But Rhy’s heroine is not European. She is West Indian. And though she is white, she is less the descendant of the English stepmother, than of Francine, her West Indian mammy. Tia is her sister under the skin. Divided from Tia by the history of slavery and the racial chasm, this woman begins life divided from herself. In the novels, she wanders through Europe, first as a young then as a mature and finally as an ageing woman, but never able to mobilize herself to fight back. It is because she is divided at the root of her being that she lacks the strength, the sustenance, the positive confirmation of her right to be autonomous, to survive, to flourish. As a woman she is particularly under attack, as w aomwn she has no wife or girlfriend to mitigate her loss and confirm her life right.
Her dilemma as a woman is one with her dilemma as a white West Indian. The separation of race and sex as political categories has limited use when they are aspects of one personality, in fiction and in life. These 2 aspects of herself shed light on each other and emphasize the grossly uneven balance of power the heroine is always up against”
James identifies how our identities are split, frayed, repressed, distorted based on the separation between our emotional affiliations and social divisions. Liberals will have us say that the emotions are most important and can cross physical and social chasms. But here, James identifies how this is a dialectical relationship — our conceptions of self change with our material conditions and our material conditions are also shaped by the movement of our self conceptions. Neither is static. The power of a political movement, such as the anti colonial revolts, is that it enables this to happen in a faster, broader, more definite way — it forms new subjectivities, it resolves former dilemmas, it creates new truths, it dispells old confusions. It creates new questions.
Another excerpt which I also love from the German Ideology. I think Selma’s analysis and Rhy’s writings express this:
Communism is for us not a state of affairs which is to be established , an ideal to which reality [will] have to adjust itself. We call communism the real movement which abolishes the present state of things. The conditions of this movement result from the premises now in existence.
Last but not least, this passage from Wide Sargasso Sea which is so beautifully written. So sad. And so unsentimental. Describing the scene when her friend Tia, along with other former Black slaves who burn down the Great House/Plantation house, Rhys writes,
“Then, not so far off, I saw Tia and her mother and I ran to her, for she was all that was left of my life as it had been. We had eaten the same food, slept side by side, bathed in the same river. As I ran, I thought, I will live with Tia and I will be like her. Not to leave Coulibri. Not to go. Not. When I was close, I saw the jagged stone in her hand but I did not see her throw it. I did not feel it either, only something wet, running down my face. I looked at her and I saw her face crumple up as she began to cry. We stared at each other, blood on my face, tears on hers. It was as if I saw myself. Like in a looking glass.”
Selma adds,
Divided from Tia, she is divided from herself. At this moment of powerlessness, she sees reflected in Tia noth sides of her dilemma, clearly and simultaneously: in Tia’s tear stained face and in the stone she has thrown; in Tia’s attachment to her and rejection of her; all this has been revealed by the act of burning down the Great House.
So in this context, with this groundwork laid, with this baring of truths, it makes it all the more powerful when Antoinette, in her own rebellion, burns down the other Great House, the source of all Great Houses, that in England. And in doing so, she reunites with Tia. But on the terms of struggle, without the domination of her white skin. But on the basis of common struggle and the carving of new relationships.
SO MUCH HERE!!!!