Abstract
Jean Rhys launched her career as a writer in 1927 with the lavish praise and strong support of Ford Madox Ford, drew attention again in England in 1958 with the BBC broadcast of Good Morning, Midnight (1939) and the subsequent bestowal of the W. H. Smith Award for Wide Sargasso Sea (1966), and caught the awareness of the American public in 1974 when A. Alvarez pronounced her quite simply, the best living English novelist.' These promising indications have not bred the serious interest one might expect. Although some articles on Rhys have appeared in popular magazines, she has received little critical attention, especially from women, despite her exceptional technical skill and the relevance of her subject matter to the women's movement.2 Is Rhys's relentless
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