I. Reading the Social Texts
Caribbean Modernism and The Postcolonial Social Contract in Voyage in the Dark
Joseph Clarke
Distilling Identities: Jean Rhys's "Mixing Cocktails" and Feminine Creole Process
Jordan Stouck
Thinking through "[t]he grey disease of sex hatred": Jean Rhys's "Till September Petronella"
Sue Thomas
Mapping the Sea Change: Postcolonialism, Modernism, and Landscape in Jean Rhys's
Voyage in the Dark
Kerry Johnson
Ethnic Modernism in Jean Rhy's Good Morning, Midnight
Delia Konzett
Creole Errance in Good Morning, Midnight
Erica Johnson
Selective Memory: White Creole Nostalgia, Jean Rhys and Side by Side
Elaine Savory
II. Reading the Intertexts
Bluebeard's Forbidden Room in Rhys's Postcolonial Metafairy Tale, Wide Sargasso Sea
Sharon Wilson
Say die and I will die": Betraying the Other, Controlling Female Desire, and Legally Destroying Women in Wide Sargasso Sea and Othello
John Gruesser
Intertextual Identifications: Modigliani, Conrad, and After Leaving Mr Mackenzie
Genevieve Abravanel
III. Rhys's Heresies
Names Matter
Maria Cristina Fumagali
Opacity as Obeah in Jean Rhys's Work
Carine M. Mardorossian
"I Can Make a Hell of Heaven: a Heaven of Hell": Jean Rhys's Heresy
Kathleen Renk
IV. Dialogues with Rhys: Contemporary Caribbean Writers
The Tree of Life
Wilson Harris
Caliban's Daughter
Michelle Cliff
Homecomings Without Home: Reading Rhys and Cliff Intertextually
Paula Morgan
Antoinette Cosway Explains
Lorna Goodison
Lullaby for Jean Rhys
Lorna Goodison
The Lady Is Not a Photograph
Louis James
Meditations on Red
Olive Senior
The Other Side of the Mirror: The Short Stories of Jean Rhys and Olive Senior
Louis James
Personal and Textual Geographies in Olive Senior's Literary Relationship with Jean
Rhys
Gyllian Phillips
Response to Phillips
Louis James
