On the one hand, Jean Rhys’s depictions of consumerism and commerce indicate an evolving capitalist culture, which is related to the designations of class, gender and racial categories. Although she always rejected him in the past, this time Sasha embraces him and pulls him onto the bed, saying, “Yes-yes-yes.”īoth these two novels register commerce and consumer capitalism as part of the literal and figurative administration of empire and the articulations of Englishness with which the empire is intimately linked, and which place colonial women into a difficult plight. She opens the door hoping he will come back again, but the commis enters instead. Sasha drives him away but later regrets it. During her stay, she remembers rooms, streets, and scenes from her past, meets a few foreigners, has several unpleasant encounters with the man next door whom she dubs the commis voyageur, and meets a gigolo who later attempts to rape her in her room. When the story begins, Sasha is on a two-week trip to a Paris that she knows well.
The heroine of Good Morning, Midnight, Sasha Jansen, is the eldest of Rhys’s female protagonists. Anna’s dark voyage, from a chorus girl to Walter’s lover and finally to a prostitute, ends with a catastrophic abortion, after which Anna breaks down completely both mentally and physically. Voyage in the Dark tells us a story of a Creole girl named Anna Morgan who, like Rhys herself, falls in love with a wealthy man only to be abandoned later, resorting to prostitution in order to keep on living.
“Although she always rejected him in the past, this time Sasha embraces him and pulls him onto the bed, saying, ‘Yes-yes-yes.'”
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