Abstract
Madness has historically functioned as a powerful trope in postcolonial fiction, but as an aspect of characterization, it also has the potential to lead to unidimensional characters. This is a problem in a field like postcolonial studies in which identifying with characters is typically how Western readers engage the perspective of the “other.” Carine M. Mardorossian argues that one of the ways in which the issue of madness’ potential unidimensionality has been negotiated in Caribbean literature is through characters’ association with a multilayered environment and landscape. Specifically, this ecocritical reading highlights the role landscape plays in constructing a complex psychology for the characters in Jean Rhys’s Wide Sargasso Sea (1966) and Shani Mootoo’s Cereus Blooms at Night (1996).
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