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To what extent can Jean Rhys's Wide Sargasso Sea and Jamaica Kincaid's Ovando be classified as Postcolonial Gothic texts?
- Words:
- 4106
- Submitted:
- Mon Jan 26 2004
Have a little read: ... To what extent can Jean Rhys's Wide Sargasso Sea and Jamaica Kincaid's Ovando be classified as Postcolonial Gothic texts? Before starting this essay, it is important to acknowledge the fact that the term 'postcolonial gothic' is quite difficult to define accurately. For the most part of this essay, I will be taking for granted the fact that these texts are essentially postcolonial in form, in so far as they are texts that have 'emerged in their present form out of the experience of colonization and asserted themselves by foregrounding the tension with imperial power.'1 It is with this certainty in mind that I will be looking more specifically at the gothic elements of the pieces, which separate the texts from other typically postcolonial works. Nevertheless, certain distinguishing postcolonial features will arise throughout the essay and this will be especially explicit when I look at the contextual aspects of the pieces. Turcotte
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