Women and Schizophrenia: The Fiction of Jean Rhys

This innovative book examines the development of modernism in four European cities: London, Paris, Berlin, and Vienna. Focusing upon how literary and cultural outsiders represented various spaces in these cities, it draws upon contemporary theories of affect, mood, and literary geography to offer an original account of the geographical emotions of modernism. It considers three broad features of urban modernism: the built environment of the particular cities, such as cafés or transport systems; the cultural institutions of publishing that underpinned the development of modernism in these locations; and the complex perceptions of writers and artists who were outsiders to the four cities. Particular attention is thus given to the transnational qualities of modernism by examining figures whose view of the cities considered is that of migrants, exiles, or strangers. The writers and artists discussed include Mulk Raj Anand, Gwendolyn Bennett, Bryher, Blaise Cendrars, Joseph Conrad, T. S. Eliot, Christopher Isherwood, Hope Mirlees, Noami Mitchison, Jean Rhys, Sam Selon, and Stephen Spender.

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Envoi

10.3366/edinburgh/9781474427418.003.0007 ◽

2018 ◽

Author(s):

Vike Martina Plock

Keyword(s):

Cold War ◽

Virginia Woolf ◽

Edith Wharton ◽

Jean Rhys ◽

Suez Crisis ◽

The Cold War

It is 1956, the height of the Cold War. The year will end in the Suez Crisis and the Hungarian Uprising. Edith Wharton and Virginia Woolf have both been dead for a while, Jean Rhys is all but forgotten and Rosamond Lehmann’s career as a novelist is on the wane....

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Conformity and Idiosyncrasy: Jean Rhys

10.3366/edinburgh/9781474427418.003.0003 ◽

2018 ◽

Author(s):

Vike Martina Plock

Keyword(s):

Twentieth Century ◽

Social Change ◽

Jean Rhys ◽

Left Bank ◽

Female Images ◽

Image Construction ◽

Political Modernity ◽

Early Twentieth Century ◽

Good Morning ◽

Professional Mobility

By looking at Jean Rhys’s ‘Left Bank’ fiction (Quartet, After Leaving Mr Mackenzie, Good Morning, Midnight, ‘Illusion’, ‘Mannequin’), this chapter investigates how new operational procedures such as Fordism and Taylorism, which were introduced into the French couture industry at the beginning of the twentieth century, affected constructions of modern femininity. Increasingly standardized images of feminine types were produced by Paris couturiers while the new look of the Flapper seemingly advertised women’s expanding social, political and professional mobility. Rhys, this chapter argues, noted fashion’s ability to provide resources for creative image construction but she simultaneously expressed criticism of its tendency to standardize female costumes and behaviour. Ultimately, Rhys demonstrates in her fiction that the radically modern couture of the early twentieth century was by no means the maker of social change and women’s political modernity. To offset the increased standardization of female images that she witnessed around her, Rhys created heroines and texts that relied on an overt display on difference.

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