It grew almost impossible to discover much of Rhys’s past after her death, as only eleven published manuscripts were left after she died. Therefore this seems to expose Rhys’s aspiration of not wanting anyone to delve into her private past, as wanted to concentrate on what existed during her prime. Yet people still maintained speculation regarding Rhys’s early years, wanting to use her past works to give reason to what happened in her present and future pieces. Likewise Woolf wanted none of her past writings to be published after she died, leaving a note to her husband Leonard Woolf, which stated ‘Will you destroy all my papers.’ This showed a desire to only live within present time. However he seemed to disregard Virginia’s wishes and published
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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,