The ways in which her earlier memories are illustrated reveal reasoning behind Sasha’s fears and are key to comprehending her later anxieties. She travels through Paris where the reader can depict her hopelessness through the novels stream of consciousness format. This novels structure links ‘The Woman Who Walked into Doors’ by Roddy Doyle, using the stream of consciousness and first person narrative in a similar format to Rhys. This is exhibited through exhibiting the story of a young girl dependant on an abundance of alcohol to numb reality and a pain of accepting the outside world, ‘(For years opening that door scared the life out of me. I hated it; terrified me.)’ Two narratives are seen to be woven together, the positive of the protagonist’s life and the unhappy aspects of the woman who is objectified and sexualised. Likewise in ‘Good Morning, Midnight’, Sasha’s feelings are delivered in fragmented ways; she flicks between actual occurring action and then what she feels in response to this. This enables present time to become manipulated into a compilation of personal thought and also public action, through a narration of internalized and interior perception. Sasha references being ‘fished up, half – drowned, out of the deep,
The ways in which her earlier memories are illustrated reveal reasoning behind Sasha’s fears and are key to comprehending her later anxieties. She travels through Paris where the reader can depict her hopelessness through the novels stream of consciousness format. This novels structure links ‘The Woman Who Walked into Doors’ by Roddy Doyle, using the stream of consciousness and first person narrative in a similar format to Rhys. This is exhibited through exhibiting the story of a young girl dependant on an abundance of alcohol to numb reality and a pain of accepting the outside world, ‘(For years opening that door scared the life out of me. I hated it; terrified me.)’ Two narratives are seen to be woven together, the positive of the protagonist’s life and the unhappy aspects of the woman who is objectified and sexualised. Likewise in ‘Good Morning, Midnight’, Sasha’s feelings are delivered in fragmented ways; she flicks between actual occurring action and then what she feels in response to this. This enables present time to become manipulated into a compilation of personal thought and also public action, through a narration of internalized and interior perception. Sasha references being ‘fished up, half – drowned, out of the deep,