Whiteness and Trauma: The Mother-Daughter Knot in the by V. Burrows

By V. Burrows

This unique and incisive examine of the fiction of Jean Rhys, Jamaica Kincaid and Toni Morrison makes use of innovative cultural and literary conception to envision the ''knotted'' mother-daughter relatives that shape the thematic foundation of the texts tested. utilizing either shut studying and contextualization, the analyses are centred via problems with race and modern theorizing of whiteness and trauma. Remarkably eloquent, scholarly and thought-provoking, this booklet contributes strongly to the huge fields of literary feedback, feminist idea and whiteness experiences.

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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

The psychohistorical dislocation that accompanied the dismantling in the mid-1800s of the British Empire in the Caribbean resulted in a form of collective stasis among the white creole population who believed they had been deserted by the imperial motherland. The sense of entrapment induced a form of damaging melancholia that is represented, if somewhat ironically, in Walcott’s verses. The poem also affirms the haunting qualities of metaphor and figurative language which will come to play such an important role in the poetics and politics of Rhys’s novel.

I ran away and did not speak of it for I thought if I told no one it might not be true’ (6). She represses her horror in silent inward flight. Godfrey, the old groom who has stayed working for Annette because he is now too old to move on and make a new life post-slavery, also discovers the dead horse, and passes on the news to his mistress. The horse, which has been poisoned, was the last visible sign of her lost privilege, and Annette’s response is one of hopelessness: ‘Now we are marooned . .

33 This was the ‘dark’ side of the history with which Rhys grew up while protected by her white creole status and its own version of events. 34 As I see it, Rhys’s Wide Sargasso Sea is implicated in the machinations of the colonial ‘coverup’, in the sense that the text’s moral abstraction through the use of metaphor and metaphorical logic becomes an intricate part of the rhetorical act of the colonial appropriation to which Spurr alludes. 35 This is what Rhys does with her appropriative use of the concept of marooning.

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