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Wide Sargasso Sea, by Jean Rhys

Wide Sargasso Sea is the story of Antoinette Cosway, a white Creole girl growing up in post-slavery Jamaica. Informed by Rhys’s own life, this is no fond memoir – it’s a bubbling mass of blame, black magic, deceit and betrayal.

At the novel’s end Antoinette is in England, incarcerated and growing insane in the attic rooms at Thornfield Hall. This is the true destination for Wide Sargasso Sea, because the book is the imagined backstory to Jane Eyre‘s Mrs Rochester. In Wide Sargasso Sea, Jean Rhys gives voice and humanity to the ‘madwoman in the attic’: she brings Bertha out of hiding and into the daylight.

Like Good Morning Midnight, Rhys’s 1939 novel of travel, longing and madness, Wide Sargasso Sea is ‘somewhat’ autobiographical. Rhys was born in Dominica in 1890, also the daughter of a white Creole woman. It’s likely this which informs Antoinette’s sense of disenfranchisement.

As Margaret Mitchell describes a vanishing world of Gone with the Wind, so too are the Cosways trapped in a time and place that is crumbling around them. They aren’t accepted by Europeans, and aren’t trusted by the Jamaicans:

“They say when trouble comes close ranks, and so the white people did. But we were not in their ranks.”

Later Antoinette reveals her mother: “still rode about every morning, not caring that the black people stood about in groups to jeer at her, especially after her riding clothes grew shabby (they notice clothes, they know about money)”.

Rhys’s writing in Wide Sargasso Sea is ahead of its time – structurally, textually, right down to its creative vision. It stands cheek-to-cheek with much later ‘feminist’ re-versions such as The Handmaid’s Tale and The Bloody Chamber. Equally timeless is Rhys’s fluttering narrative – poetic, wild stream of consciousness that suggests the text itself is on the edge of madness.

If Wide Sargasso Sea aims to even the score for Mrs Rochester, it has few victories to write of. At the start of the novel slavery has been dismantled, but both black and white remain trapped in the supposedly free world, a world still chained to historical fact, bigotry, racism and cruelty. (Even for Antoinette – or Rhys – the black characters remain liminal figures experienced through historical prejudice and dread).

Similarly, Antoinette and her husband bind to each other, first in marriage and then in delusion and cruelty. Themes which appear in Jane Eyre – madness, the unfairness of social existence – are inflated here by racial fetishisation and fears of black magic.

Rhys’s ‘Mr Rochester’ is obsessed with the idea that he’s been tricked into an unequal marriage (he says this even as he pockets his wife’s property and money). He fixates on her madness, and speculates on zombies. In Jane Eyre, Rochester’s sense of duty means he must keep Bertha in the attic for her own good. In Wide Sargasso Sea, what neither can see is that both are barely living, both are mad – and so they come to imprison each other.

Wide Sargasso Sea, Jean Rhys. Penguin Books, 2000 (André Deutsch, 1969)

Similar to: Good Morning Midnight (Jean Rhys), Gone with the Wind (Margaret Mitchell)


Words: my own except where quoted.
Photo by Dirk Spijekrs via Unsplash.