Jean Rhys's Modernist Bearings and Experimental Aesthetics by Sue Thomas;

Author:Sue Thomas;
Language: eng
Format: epub
Publisher: Bloomsbury UK

Notes

1 ‘The 1937 International Exhibition, Paris: An International Exposition of Arts and Techniques Applied to Modern Life’, Architectural Record, October 1937, 82, in World’s Fairs: A Global History of Expositions (Marlborough: Adam Matthew Digital, n.d.), http://www.worldsfairs.amdigital.co.uk.ez.library.latrobe.edu.au/Documents/Details/HMLSC_upam_BX22_AMD587, accessed 29 September 2019.

2 Rhys, Good Morning, Midnight, 4.

3 Ibid., 8.

4 ‘Swing High Swing Low Lyrics’, https://genius.com/The-ink-spots-swing-high-swing-low-lyrics, accessed 17 June 2018.

5 Donald, Some of These Days, 1, 18.

6 Rhys, Good Morning, Midnight, 16.

7 Ibid., 89.

8 For a recent overview with new scholarship, see Danilo Udovicki-Selb, ‘Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition’, Journal of Contemporary History 47, no. 1 (2012): 13–47. In Rhys criticism, see Emery, Jean Rhys at ‘World’s End’, 144–72; Christina Britzolakis, ‘“This Way to the Exhibition”: Genealogies of Urban Spectacle in Jean Rhys’s Interwar Fiction’, Textual Practice 21, no. 3 (2007): 457–82; and Camarasana, ‘Exhibitions and Repetitions’.

9 Rhys, Good Morning, Midnight, 6.

10 Ibid., 33, 126.

11 Jay Laurier, ‘I Do Like a S’Nice, S’Mince, S’Pie’, https://monologues.co.uk/musichall/Songs-I/I-Do-Like-A-Snice-Spince-Spie.htm, accessed 4 October 2018; Paul Tremaine and His Orchestra, ‘There’s One More River to Cross’ (1930), YouTube, https://www.youtube.com/watch?v=QAjn-XOiO1A, accessed 27 September 2019. The lyrics of both are slightly, but not substantively misremembered, which suggests that Rhys is keeping to the narrator’s potentially fallible memory of the songs. Jay Laurier was an English music hall performer with a very mobile comic face; after the advent of screen sound some of his music hall songs were recorded and shown as shorts in cinema programmes, so the allusion could be both musical and visual.

12 Katharine Streip, ‘“Just a Cérébrale”: Jean Rhys, Women’s Humour, and Ressentiment’, Representations 45 (1994): 117–44; Savory, Jean Rhys, 109–32; and Laura Wainwright, ‘“Doesn’t That Make You Laugh?”: Modernist Comedy in Jean Rhys’s After Leaving Mr Mackenzie and Good Morning, Midnight’, Journal of International Women’s Studies 10, no. 3 (2009): 348–57.

13 Rhys, Good Morning, Midnight, 113–14.

14 Oscar Wilde, Lady Windermere’s Fan, in Five Plays, by Oscar Wilde (New York: Bantam, 1961), 37.

15 Neil Sammells, Wilde Style: The Plays and Prose of Oscar Wilde (2000; repr., London: Routledge, 2014), 88.

16 Rhys, Good Morning, Midnight, 20.

17 Lauren Berlant and Sianne Ngai, ‘Comedy Has Issues’, Critical Inquiry 43, no. 2 (2017): 234, their emphasis.

18 Rhys, Good Morning, Midnight, 89.

19 Tim Armstrong, ‘Modernist Temporality: The Science and Philosophy and Aesthetics of Temporality from 1880’, in The Cambridge History of Modernism, ed. Vincent Sherry (Cambridge: Cambridge University Press, 2016), 33.

20 Rhys, Good Morning, Midnight, 8.

21 When Francis Wyndham tried to locate Rhys in the 1940s, he was, Diana Athill reports, ‘told by one person that she had drowned herself in the Seine, by another that she had drunk herself to death. People expected that kind of fate for her.’ Stet (London: Granta, 2000), 152. The image of being ‘rescued’ from the ‘deep, dark river’ resonated with Rhys at a personal level; in correspondence with Selma Vaz Dias in 1960, Rhys alludes to it to describe Vaz Dias’s discovery of her whereabouts in 1949 over a radio adaptation of Good Morning, Midnight. Letter to Vaz Dias, 21 January 1960, Jean Rhys Papers.

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