A woman encounters a life filled with desires and emotions when she returns to Paris after suffering from a bout of depression and alcoholism in London.

A groundbreaking biography of a psychologically traumatized novelist who forever changed the way we look at women in fiction. Jean Rhys (1890–1979) is best known for her 1966 novel Wide Sargasso Sea. A prequel to Jane Eyre, Rhys’s revolutionary work reimagined the story of Bertha Rochester—the misunderstood “madwoman in the attic” who was driven to insanity by cruelties beyond her control. The Blue Hour performs a similar exhumation of Rhys’s life, which was haunted by demons from within and without. Its examination of Rhys’s pain and loss charts her desperate journey from the jungles of Dominica to a British boarding school, and then into an adult life scarred by three failed marriages, the deaths of her two children, and her long battle with alcoholism.A mesmerizing evocation of a fragile and brilliant mind, The Blue Hour explores the crucial element that ultimately spared Rhys from the fate of her most famous protagonist: a genius that rescued her, again and again, from the abyss.

This book explores questions of race and identification in writings from the Enlightenment to the present. Drawing on post-colonial theory, it provides close readings of texts by Olaudah Equiano, Jane Austen, Charlotte Brontë, Jean Rhys, Frantz Fanon, Toni Morrison and Tsitsi Dangarembga and highlights the elements of dialogue, exchange and contestation between them. It illustrates how inscriptions of racial crossing - whether between white and black or black and white - are always implicated in a certain textual and/or intertextual politics.

"A considerable tour de force by any standard." ?New York Times Book Review"

'An acute literary intelligence ... the reader comes to trust instinctively Angier's assessments.' New York Times Jean Rhys (1890-1979) had a long life of great difficulty. So inept was she in its management that her authority as the writer of five beautifully shaped and controlled novels appears mysterious: how could someone so bad at living be so good at writing about it? Carole Angier answers this question. Jean Rhys never denied that she used her own experience in her writings, but no one hitherto has understood so well the nature of, and reasons for, this use. On her way to understanding, Carole Angier discovered more about the life than seemed possible. Jean Rhys's childhood, her momentous first love affair, her three marriages, the disasters which befell her husbands, her drinking and its consequences: all are shown with unsparing clarity. Equally clearly, and more importantly, we see the dynamics of her personality as it underwent, and sometimes provoked, these experiences. Sometimes what is revealed is shocking; but Carole Angier's sympathy and compassion dispel dismay, and her brilliant demonstrations of how art was made of events and emotions restores admiration on foundations which are stronger than ever. Jean Rhys did not want anyone to write about her, but this first full biography put beyond question her standing as a great writer of our time, written with an intensity and clarity which mirrors her own. It is a work of exceptional intimacy, sensitivity and power. 'Remarkable, the definitive biography. It is deeply researched, subtle, sympathetic.' Claire Tomalin Independent on Sunday 'Mesmerising.' Washington Post

Addressing Jean Rhys's composition and positioning of her fiction, this book invites and challenges us to read the tacit, silent and explicit textual bearings she offers and reveals new insights about the formation, scope and complexity of Rhys's experimental aesthetics. Tracing the distinctive and shifting evolution of Rhys's experimental aesthetics over her career, Sue Thomas explores Rhys's practices of composition in her fiction and drafts, as well as her self-reflective comment on her writing. The author examines patterns of interrelation, intertextuality, intermediality and allusion, both diachronic and synchronic, as well as the cultural histories entwined within them. Through close analysis of these, this book reveals new experimental, thematic, generic and political reaches of Rhys's fiction and sharpens our insight into her complex writerly affiliations and lineages.

Julia Martin is in Paris and at the end of her rope. Once beautiful, she was taken care of by men. Now after being dropped by her latest lover, she visits London to see her ailing mother and meets up with her distrustful sister, Norah. This is a haunting picture of two desperate women in a desperate predicament.