Jean Rhys and the Novel as Womens’s Text

Index

Alphabetization is letter-by-letter. Names of fictional characters are followed by parenthetical reference to the works in which they appear.

Abel, Elizabeth, xiii, 117, 118, 119
Acting: and dream work, 138-40; and reading, 21-22; and speaking, 25; on stage, 20; and writing, 20-25
Adams, Robert M., 33
Aesthetics, 5, 45, 130, 249-55, 258 (n. 25)
After Leaving Mr Mackenzie, 61, 120–24
Alvarez, Albert, 54, 61-63, 70-71
Amélie (Wide Sargasso Sea), 150, 183-84, 202
Annette. See Mason, Annette
Antoinette. See Mason, Antoinette
Ardener, Edwin, 50-51, 261 (n. 11)
Ardener, Shirley, 50-51, 261 (n. 11)
Arnold, June, 17
Athern, Louise Montague, 43
Athill, Diana, 63, 265 (n. 1)
Audience: female, 1-25; male, 62, 70; for men’s texts, 10; of readers, xii, 2, 22; theater-going, 1, 2, 10, 20-21; for women’s texts, 6, 7, 10
Austen, Jane, 11, 57
Authority, xvi
Authors. See Writers
Authorship, 14, 15, 144
[Auto]biography: defined, xv, xvi, 5, 43-45; Rhys’s novels as, xvi, 61-63, 110; women’s novels as, xi, xv, 1, 18, 40-48; Woolf’s works as, 263 (n. 29)

Baptiste (Wide Sargasso Sea), 220, 222, 223, 229-30, 244
Bart, Lily (The House of Mirth), 16, 22-24
Beardon, Maudie (Voyage in the Dark), 72-73, 222
Beauvoir, Simone de, 52, 261 (n. 2)
Bernini, Gian, 33-34
Bertha. See Jane Eyre; Mason, Antoinette
Bitzer, Lloyd, xi-xii
Blanks: in discourse, 50, 53, 65, 97, 261; “Mr. Blank,” 64, 76, 77, 99; within Rochester, 194, 209. See also Gaps (in discourse)
Books: The Arabian Nights, 59, 114; father-book, 56, 59, 60, 115, 180; The Glittering Coronet of the Isles, 213, 232, 234, 240; God as, 56, 59-60, 115, 123, 193, 252; Life and Letters of. . . , 198; mother-book, 56, 114, 181, 186; needle book, 56, 123; readers and, 2; Rhys’s ideas of, 59-60, 114-15, 123, 193, 252
Booth, Wayne, xii
Boyd, Daniel. See Cosway, Daniel
Brontë, Charlotte, 11, 57; Jane Eyre, xvi, 60, 108; Villette, 19, 24, 252. See also Jane Eyre; Villette
Brontë, Emily, 57
Bruss, Elizabeth, 42, 44, 260 (n. 8)
Bunyan, John, 44, 260 (n. 8)
Burke, Kenneth, 248, 270 (n. 7)

Carnival, 102-3, 163, 254
Caves. See Imagery
Characters, Rhys’s: heroine-narrator, xv, 54, 61-68; male, 10, 200, 201, 265 (n. 17), 267 (n. 1). See also names of individual characters
Charcot, Jean, 26-31, 33, 197, 232, 259 (n. 13)
“Check and stimulus,” 132, 265 (n. 7)
Chopin, Kate, 57
Christophine (Wide Sargasso Sea): and Antoinette, 145, 147-51, 158, 165, 168, 173-74, 183, 221, 270 (n. 7); and Rochester, 180, 197-98, 206, 218, 232-33
Cinema, 20, 26, 260 (n. 40)
Cixous, Hélène, 199, 249, 267 (n. 9)
Cleopatra (paintings), 23, 32
Coco (Wide Sargasso Sea), 157, 171, 173-80, 190, 192
Colette, 263 (n. 30)
Community: fiction as constitutive of, 3-4, 11, 45; and status quo, xi, 52, 249; of women readers, xi-xii, 2-4, 7, 248-55
Content: versus style, 13, 19; of women’s novels, 3, 14, 40-48, 50, 56, 199
Context: and language, 65, 68, 72, 75-79, 83, 89; of the reader, 128-29; of Rhys’s heroine-narrator, 80-84
Conversation: fundamental, 60, 95, 105, 113, 122; male-female, 49-69, 105; Rhys’s memory of, 112-13; subconversation, 82-83, 130, 137; unspoken, 67, 82-83; writer-reader, 6. See also Discourse
Cora, Aunt (Wide Sargasso Sea), 150, 175, 177, 188-90
Cosway, Annette. See Mason, Annette
Cosway, Antoinette. See Mason, Antoinette
Cosway, Daniel (Wide Sargasso Sea), 141, 143, 178, 184, 212-26, 265 (n. 17)
Criticism: American, 45; feminist, xii-xv, 4-5, 14, 49, 185-86, 192, 257 (n. 5); French, xv, 4, 8, 20, 31; Marxist, xiv; masculinist, xii-xiv, 260 (n. 6), 261 (n. 8); of men’s works, 42-44; reader-response, xii, 257 (n. 4); of Rhys’s works, 54, 61-63, 70, 267 (n. 1); structuralist, 251; of women’s works, 42-44
Culler, Jonathan, 251
Culture. See Community

De Courtivron, Isabelle, 49, 261 (n. 2)
Derrida, Jacques, 8
Devi, Mahasveta, xiii, xiv
Discourse: feminine, 49–69; gaps in, 49, 50, 261 (n. 13); masculine, 71, 102, 122-23; muted, 50-51. See also Idioms
Displaying texts. See Texts
Dolls: Olympia, 34-40; in Rhys’s childhood, 253-54; Rhys’s female characters as, 57-58, 245-46; Rochester as, 209, 226, 232, 254. See also Masks
Dora (Freud’s patient), 28-30, 33, 132, 186-88, 190-92, 266 (nn. 25-27, 32)
“Draupadi,” xiii, xiv
Dreaming, 149, 164
Dreams: Freudian interpretation of, 131-32, 138-39, 186-88; in Jane Eyre, 132, 154-55; in Wide Sargasso Sea, 127-45
Dream-text, 130-33, 141-42, 144, 181, 265 (n. 7). See also Wide Sargasso Sea
Drowning. See Imagery
Dubois, Christophine. See Christophine

Ecstasy of St. Teresa, 33-34
Eff, Mrs. (Jane Eyre), 134, 201, 220, 237
Eliot, George, 11,57
Ellipses. See Punctuation
Emile (Wide Sargasso Sea), 204
Eyes: Freudian symbolism of, 35, 59; and the gaze, 31, 40, 45-46, 162, 265 (n. 5); in Jane Eyre, 162; in Rhys’s childhood, 59, 60; Rochester’s, 233-34; in “The Sand-Man,” 35-36, 58-60; in Smile Please, 59-60; in Villette, 160-61; in Wide Sargasso Sea, 148-49, 174, 233, 268 (n. 23); in women’s texts, 40-42

Fairy tales, 59-60, 114, 150
Father book, 56, 59, 60, 115, 180
Father(s): Antoinette’s lack of, 212-13; as literary norm, xiii; name of the, 268 (n. 26); Rochester’s, 133, 199-201
Father-texts: characteristics of, xiii, 56, 59, 60, 248; Rhys’s use of, 269 (n. 28); Rochester and, 195-200, 212, 215, 240-42, 244
Faulkner, William, 258 (n. 3)
Female Man, The, 15, 19-21, 39
Female writers. See Women writers
“Feminine fifties,” 5
Feminist criticism. See Criticism
Fetterley, Judith, xiii
Fiction. See Novels
Film. See Cinema
Fires: Dora and, 266 (n. 25); in Jane Eyre, 127, 170-71; in Wide Sargasso Sea, 151, 157, 159, 170-75
First-person narrators. See Narrators
Flying, 42-43
Fraser, Mr. (Wide Sargasso Sea), 217–18
Freud, Sigmund: and Charcot, 26; and Dora, 28-30, 33, 132, 186-88, 190-92, 266 (nn. 25-27, 32); on dreams, 131-32, 138-39; “The ‘Uncanny,’” 34-40
Fundamental conversation. See Conversation

Gallop, Jane, xii-xiv
Gaps (in discourse), 50, 53, 261 (n. 13); in Voyage in the Dark, 97, 102
Gardens. See Imagery
Gardiner, Judith Kegan, 185, 194
Gauthier, Xavière, 49, 50, 97, 164, 197, 261 (n. 13)
Gaze, proprietorship of, 31, 45, 260 (n. 40). See also Eyes
Gender: effect of on writing practice, 252; marking, 55, 103; and perception, 13
Genre: autobiography as, 40-48; Gothic, 230-31, 268 (n. 25); novels as, 251; shadow-genre, 44
Gesture (of novels to women readers), 1-7, 10-11, 19-20
Gielgud, John, 20
Gilbert, Sandra, 14, 15, 17, 25, 32, 137
Gilman, Charlotte Perkins, 31, 57
Glaspell, Susan Keating, 8, 31, 57
Glittering Coronet of the Isles, The (Wide Sargasso Sea), 213, 230, 232, 234, 240
God: Antoinette’s view of, 181; Rhys’s view of, 56, 59-60, 115, 123, 193, 252; as spirits, 180-81
Golden Notebook, The, 2
Good Morning, Midnight, 55, 61, 64, 65, 66, 116-17, 119, 127
Gothic (genre), 222, 230-31, 268 (n. 25)
Grahn, Judy, 34
Grammar, 60, 248, 250-51, 270 (n. 7)
Gubar, Susan, 14, 15, 17, 25, 32, 137

Hamlet, 242, 269 (n. 29)
Heath, Stephen, 26
Hernadi, Paul, 2
Heroine-narrator, xv, 54, 61-68; of Good Morning, Midnight, 116-17, 119-20; of Voyage in the Dark, 108, 111, 124-25, 192
Hester, Aunt (Voyage in the Dark), 86-88, 102, 104, 116
Hoffman, E. T. A., 34-39, 59-60, 233
Horsfield, George (After Leaving Mr Mackenzie), 120, 123
House of Mirth, The, 16, 22-24, 26, 31
Hysteria: of Dora, 29-30, 186; of nineteenth-century women, 30; Rochester’s, 197. See also Schizophrenia

Idioms: clash of, 84, 117, 119, 129, 141; dominant, xi, 68, 84, 120, 129, 141, 252, 254, 255; muted, 50-51, 108, 129, 137, 141, 252, 254
Imagery: caves, 17-18; dolls, 57-58; dresses, 169, 170; drowning, 71, 95-96; fire, 157, 159, 170-72, 186-91, 266 (n. 25); gardens, 167, 254, 268 (n. 23); jewel-case, 175, 186-91; masks, 163, 254; needles, 56; trees and forests, 89-90, 165, 167; womb, 17-18, 243
Intratext, 110-26
Irigaray, Luce, 70
Iser, Wolfgang, xii
Italics. See Punctuation

James, Alice, 26, 28, 30, 33, 226-27
James, Henry, Sr., 30
Jane Eyre, xv, 60-61, 108; Bertha in, 61, 127-28, 152-55, 158-61, 181; Rhys’s Antoinette and, 128, 130-37, 140-44, 147-48, 151-65, 172-74, 177, 179, 181, 184-85; Rhys’s Rochester and, 195, 222, 226-29, 234
Jeffries, Vincent (Voyage in the Dark), 85-86, 89-93, 96-102, 104
Jeffries, Walter (Voyage in the Dark), 85, 106, 125, 223
Jelinek, Estelle, 42-44
Jewel-case. See Imagery
Joyce, James, 3, 13, 43, 225
“Jury of Her Peers, A,” 8, 31

Kamuf, Peggy, 198, 200, 208
King Lear, 240-42
Kolodny, Annette, 8, 9
Kristeva, Julia, 132, 199-200, 225, 248-49, 255

Lacan, Jacques, 8, 31, 268 (n. 26)
Laing, R. D., 117-18
Language: as context, 65, 68, 83; gaps in, 50, 53, 65; men’s, 60, 68; as power, 68, 84-85; Rhys’s handling of, 56-58; suppression of, 96, 118; unspoken, 67, 119; women’s, 48-50, 60, 119-20, 122
Lessing, Doris, 2, 117
“Letter of the Law,” 151, 163, 196-97, 207, 212, 270 (n. 7)
Letters: in Voyage in the Dark, 84-88, 92-93, 101-2, 217; in Wide Sargasso Sea, 142–43, 206-7, 214-20
Life and Letters of. . . (Wide Sargasso Sea), 207
Literary criticism. See Criticism
Literature: autobiography as, xv; contemporary, xi, 11; nineteenth-century, 5, 11, 12, 31; and politics, xiii-xv; twentieth-century, 3-5, 11, 12, 42, 52-53, 248-51
Looking-glass. See Mirrors

Madness, 26-32, 232-33; Annette’s 180; Antoinette’s, 162, 179; Rochester’s, 243, 247. See also Hysteria; Schizophrenia
Male characters. See Men characters
Male writers. See Men writers
Marie Augustine, Sister (Wide Sargasso Sea), 145, 146-47, 150-51, 167
Marks, Elaine, 49, 261 (n. 2)
Martin, Julia (After Leaving Mr Mackenzie), 120, 123-24
Marxist criticism. See Criticism
Masculine texts. See Men’s texts
Masks, 58, 71, 254-55; in Voyage in the Dark, 103-5, 163, 254; in Wide Sargasso Sea, 163. See also Dolls
Mason, Annette (Wide Sargasso Sea), 145, 149-50, 165, 173-80, 183-85
Mason, Antoinette (née Cosway) (Wide Sargasso Sea), 133–37, 179; self-recognition of, 169, 268 (n. 23); and women characters, 145, 164-65
Mason, Richard (Wide Sargasso Sea), 167, 175-77, 184, 189
Maudie. See Beardon, Maudie
Mellown, Elgin W., 62, 65-66
Men characters, 10; in Voyage in the Dark, 114; in Wide Sargasso Sea, 129, 183, 200-201, 265 (n. 17), 267 (n. 1). See also “Rochester”
Men readers, 8, 62, 70
Men’s novels, xi, 1, 6, 114, 252, 261 (n. 8)
Men’s texts, 129-30. See also Father-texts
Men writers, 3, 6, 9, 261 (n. 8)
Miller, Nancy K., 46-47, 50, 70
Millett, Kate, xiv, 31-32, 42-43, 259 (n. 7), 269 (nn. 28, 29)
Mirrors: in Jane Eyre, 151, 158; Rochester and, 71, 192, 198, 200, 229, 234, 247; in Wide Sargasso Sea, 71, 150, 166, 172, 192, 198, 200, 226, 231, 268 (n. 26); women’s novels and, 41
Moon, the, 152-56, 158, 159-62
Morality, 53, 248-51
Morgan, Anna (Voyage in the Dark), 61, 65, 72-109, 118, 125, 129, 136, 149-50, 192, 217
Mother book, 56, 114-15, 181, 186, 252
Mothers, xiii, 133, 152-54, 156-62. See also Mason, Annette
Mother-text, 115; in Wide Sargasso Sea, 149-86, 194, 198, 200, 208-11, 216, 225, 266 (n. 23)
Multiple narrators. See Narrators
Multiplicity: of narrators, 124-25, 144; of selves, 13, 183

Nabokov, Vladimir, 44, 260-61 (n. 8)
Naipaul, V. S., 54, 62, 63
Names: Antoinette/Bertha, 179-80, 184-85; Jones/Jeffries, 73-76, 99; name-calling, 166, 174; nicknames, 75; “Rochester,” 195
Nana, 61, 72
Narratives: dreams as, 131-32; first-person, 65, 118, 124-25, 194; multiple, 83–84; Rochester’s, 194-247; third-person, 61, 118, 123
Narrators: heroine-narrator, xv, 54, 61-68, 108, 111, 116-17, 119-20, 124-25, 131-93; male, 194; multiple, 131, 144. See also “Rochester”
Nebeker, Helen, 164, 167
Needle books. See Books
Novels: as genre, 251; men’s, xi, 1, 6, 114, 252, 261 (n. 8); nineteenth-century, 137, 143, 252; shape of, 64, 112; structure of, xv; tone of, 64–65; twentieth-century, xi, 3, 11, 42, 252; women’s, xi, xiii, 1-7, 22, 40-48, 251, 252

Oedipus complex, 34, 38, 59, 197, 199, 231
Olympia (“The Sand-Man”), 34-39, 119, 197, 233-34
Ong, Walter, xii, xiv
Ophelia, 27, 242
Orphans: Rhys’s heroines as, 62, 88; Rochester’s text as, 196, 219

Paradigms, 250-52
Performance: of the book, 1, 3, 258 (n. 3); on stage, 2, 25; of writing practice, 3
Plante, David, 110, 112, 264 (n. 8)
Plot: nineteenth-century, 14-15, 143, 252; twentieth-century, 14; in women’s texts, 14
Point of view. See Narratives
Politics, xiii-xvi
Poole, Grace: in Jane Eyre, 133, 158; in Wide Sargasso Sea, 133-35, 137, 145-47, 150, 151, 171, 177, 201, 220
Pritchett, V. S., 54, 93, 117
Proprietorship: of the dominant culture, xi, 4-5; of the gaze, 31, 45, 260 (n. 40); of women by men, 75-77, 84-85, 93, 189-90, 206, 245
Psychoanalysis: Freudian, 26, 28-30; post-Freudian, 60, 117-19, 268 (n. 26); Rhys and, 266 (n. 26). See also Freud, Sigmund
Punctuation (Rhys’s): ellipses, xviii; italics, 78, 80-83, 102-3; quotation marks, 67

Quartet, 61, 120, 123

Reader-response theories. See Criticism
Readers: female, 4-8, 10-12; male, xii, 3, 6, 8; relation to writers, xi-xvi; response of to Rhys, xv-xvi, 137
Reading, 7, 8, 11; in Rhys’s life, 114-15, 128, 266 (n. 26)
Religion, Rhys’s view of, 56, 59, 60, 115
Remembering, 17-18, 105-7, 112, 181
Representation (of self), 31, 181; of women, 24-25
Repression, 26, 28, 30, 33; of Antoinette, 183, 185; by Dora, 187-88
Resonance, 51-52
Revision, 107, 112
Rewriting, 105-9, 123, 252
Rhetoric, xi
“Rhetorical situation,” xi-xii, 5
Rhys, Jean (née Ella Gwendolen Rees Williams): critical appraisals of, 54, 61-63, 70, 267 (n. 1); as displaced person, 54-55, 262 (n. 14); and editors, 105-8; and male readers, 54, 61-63, 70; modernity of, 14, 52-53; personal life, 53-54, 59, 61, 63, 115-17, 262 (n. 14); similarities to heroine-narrator, 61, 63; view of God, 56, 59, 60.
–Works: After Leaving Mr Mackenzie, 61, 120–24; Good Morning, Midnight, 61, 64-66, 116-17, 119, 127; Quartet, 61, 120, 123; Sleep It Off, Lady, 61, 265 (n. 1); Smile Please, 59, 66, 105-6, 110–11, 113-17, 122-23, 262 (n. 14); Tigers Are Better Looking, 265 (n. 1); Voyage in the Dark, xv, 61, 65-68, 110-14, 252, 254; Wide Sargasso Sea, xv, 61, 108, 113, 123, 127-93, 253, 266 (n. 23)
Rich, Adrienne, xvi, 11, 46, 191
Richardson, Dorothy, 12, 13, 57
“Rochester”: as doll, 254; eyes of, 268 (n. 23); and male critics, 129, 200–201; naming of, 195; narrative of, 194-247; societal position of, 265 (n. 17); text of, 129-30, 194-242
Russ, Joanna, 19-21, 32, 39

Sadlier, Michael, 105-6
Sandi (Wide Sargasso Sea), 183
“Sand-Man, The,” 34-39, 59-60, 233
Schizophrenia, 14, 117, 119, 242
Second Sex, The, 52, 261 (n. 2)
Seeing. See Eyes; Spectacle; Vision
Self, 3, 5; constitution of, 111-14, 185, 249; divided, 13, 32, 117-19, 183; names and, 179-80
Sexual Politics, xiv, 31-32, 259 (n. 7), 269 (nn. 28, 29)
Shadow genres, 44
Shakespeare, William, 139-40, 234, 240-43, 269 (nn. 28, 29)
Shelley, Mary, 17
Showalter, Elaine, 12-13, 14, 259 (n. 13), 261 (nn. 11, 13)
Sinclair, May, 57
Sleep It Off, Lady, 61, 265 (n. 1)
Smile Please, 59, 66, 105-6, 110-11, 113-17, 122-23, 262 (n. 14)
Snowe, Lucy (Villette), 24, 31-33, 38, 159, 255, 259 (n. 7)
Spectacle: Vashti as, 160-61; women’s texts as, 5, 33-34, 38-48
Spectacular text. See Texts
“Spectral architecture,” 132-33, 144, 265 (n. 5)
Speech. See Voice; Voices
Spivak, Gayatri, xiii
Stage, 2, 3, 18
Stanislavski, Konstantin, 138-39
Stein, Gertrude, 14, 57
Structuralism, 251
Subconversation, 82-83; in Voyage in the Dark, 95, 130, 137
Subtext, 138-41, 143-45, 147, 151, 163, 183, 185, 194

Tableau clinique, 26, 30–31, 38
Tableau vivant, 20, 22-23, 28, 31, 38
Teresa, Saint, 33-34, 259-60 (n. 29)
Texts: “displaying,” 7, 10, 19, 40-48, 251; dominant, 202, 223; dream-text, 130-33, 141-42, 144, 181, 265 (n. 7); father-text, xiii, 56, 59, 60, 195-200, 212, 215, 240-42, 244, 248, 269 (n. 28); masculine, 129-30; mother-text, 115, 149-86, 191-96, 266 (n. 3); performative, 40-48; “spectacular,” 7, 10, 19, 40-48, 251; women as, 5, 8-9, 13. See also Women’s texts
Theater: of women’s texts, 1-26, 46-48
Third-person narratives. See Narratives
Tia (Wide Sargasso Sea), 150, 165, 166, 172-74; as Antoinette’s alter ego, 182-83, 185, 192, 254
Tigers Are Better Looking, 265 (n. 1)
Tone: of Rhys’s novels, 64-65
Transference, 190-91
“Trial of Jean Rhys, The,” 122-23, 125-26, 187

Uncanny, the, 34-40, 132, 223-25, 249

Vashti (actress) (Villette), 19, 25, 32, 159-62, 255
Villette, 24, 31, 38, 128, 159, 252, 259 (n. 7). See also Vashti
Vincent. See Jeffries, Vincent
Vision: and hearing, 104, 254. See also Eyes; Revision
Voice: absence of, 22, 27, 29, 31, 38, 162; of women’s texts, 4, 20, 22, 25, 46-48, 251
Voices: of actors, 22-28; of Charcot’s patients, 27; of Freud’s Dora, 28–29; in Voyage in the Dark, 80, 86, 100
Voyage in the Dark, xv, 61, 65-68, 70-109, 110-14, 252, 254
Vreeland, Elizabeth, 63, 66, 113, 127

Weaving (as narrative technique), 52, 268-69 (n. 27); in Wide Sargasso Sea, 113, 122, 123, 130, 149, 195-96, 221, 226
Wharton, Edith, 16, 22-24, 26, 31
Wide Sargasso Sea, xv, 60-61, 66, 67, 69, 83-85, 108, 262 (n. 14); as dream-text, 127-93, 250, 253; interweaving in, 113, 123; language in, 120; “lesson” of, 249; mother-text in, 122-23, 266 (n. 23); women characters in, 130
Williams, Angela, 144
Wilmot, John, earl of Rochester, 242-43
Wittig, Monique, 49, 97
Woman-as-text, 5, 8-9, 13
Women characters, 130
Women readers, xi, 4-8, 11-12, 128, 253, 257 (nn. 4, 5)
Women’s texts: as [auto]biography, 40-48; characteristics of, 199; dramatic aspects of, 1-7; as dreams, 130-93; examples of, 252-53; in “feminine fifties,” 5; nineteenth-century, 5, 31; twentieth-century, 14, 252-54; voice in, 22, 48
Women writers, 3, 6, 8-17, 42-44, 253
Woolf, Virginia: as exemplar, xv, 13, 14, 16, 42, 49; quoted, xiv, xv, 4, 13, 130, 265 (n. 5); A Room of Ones Own, 57, 262-63 (n. 29)
Words: in dreams, 139; futility of, 179; as talisman, 69, 73, 91, 212. See also Discourse; Language
Writers: female, 6, 14, 252-54, 264 (n. 6); male, 3, 6, 261 (n. 8); nineteenth-century, 11, 13-16, 31-32; relation to readers, xi-xvi; twentieth-century, 14–16
Writing: and critical theory, xi, xv; legitimizing power of, 88; purposes of for Rhys, 111, 121-22; as social force, 69, 93, 119
Wyndham, Francis, 54, 70

“Yellow Wall Paper, The,” 31
Young Bull (Wide Sargasso Sea), 141, 204, 205, 265 (n. 17)

Zola, Emile, 61, 72
Zombis, 229-32