By V. Burrows
This unique and incisive research of the fiction of Jean Rhys, Jamaica Kincaid and Toni Morrison makes use of innovative cultural and literary concept to ascertain the ''knotted'' mother-daughter relatives that shape the thematic foundation of the texts tested. utilizing either shut analyzing and contextualization, the analyses are targeted via problems with race and modern theorizing of whiteness and trauma. Remarkably eloquent, scholarly and thought-provoking, this publication contributes strongly to the vast fields of literary feedback, feminist thought and whiteness reports.
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Additional resources for Whiteness and Trauma: The Mother-Daughter Knot in the Fiction of Jean Rhys; Jamaica Kincaid and Toni Morrison
Sample text
3 The ideological contours of the social space into which a trauma narrative is inserted is intrinsic then to its reception. Given the crucial importance of the role of the listener in trauma studies, I return to Spivak’s famous query. 5 But there are different ways of listening. 6 Rhys’s novel is highly tropological, its textual economy constituted by interconnecting tropes that are themselves deeply laden with connotative meaning. Indeed many of the symbols are overdetermined to an extraordinary degree.
7 Using Ramchand’s statement as a point of departure, I will explore the notion that Rhys’s novel primarily revolves around the profound cultural ambivalence of being fixed in a historically inflected moribund whiteness that is itself, as Sanford Sternlicht states, ‘trapped between two disdainful cultures’8 at a crucial moment of imperial dismantling. It is this historical background that exacerbates, or perhaps even creates, the deep intersubjective ambivalence of the particularised mother– daughter relationship of Annette Cosway Mason and her daughter, Antoinette.
Without the authority of patriarchal and neo-imperial endorsement, racial jeering and threats from the newly freed blacks begin in earnest. Her widowed mother, Annette, is a figure of profound isolation as she paces on the verandah of Coulibri, stared and laughed at by those passing. Her body reflects the pain of her estrangement, as she stands, long after the jeering echoes have passed, with her eyes shut and her fists clenched. Antoinette, anxiously watching her mother’s withdrawal, seeks to comfort and be comforted, but is met by cold indifference: A frown came between her black eyebrows, deep – it might have been cut with a knife.
