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Although the children contain a part of herself, it is only in their violent destruction—throwing them away—that she can reassert control over her body and motherhood.

Traditional gender roles associate violence with men, physically powerful individuals with the ability to destroy and exert force. Women, however, are conventionally depicted as the givers of life, healing and nurturing rather than destroying.

The two 20 th century novels are linked by the violence running rife throughout their plots and by the marginalized voices of women of color that they illuminate.

As retellings of earlier 19 th century texts, the novels also have violence inherent in their forms, their revisions enacting symbolic violence on the originals.

As I will argue, this literary violence acknowledges how the earlier works are embedded within the dominant white male discourse and attempt to create space for new or previously excluded voices.

Morrison draws from historical accounts of Margaret Garner, an escaped slave woman who attempted to kill her children and then herself.

Both Antoinette and Sethe experience devastating violence at the hands of their husbands, masters, or white patriarchal society broadly.

Alternately rendered victims and perpetrators, the women find themselves entrenched in cycles of violent oppression and violent resistance.

For both women, only through this self-harming violence can they claim agency over their lives which their societies would otherwise deny them. The retributive killing of the first murderer creates a new victim and requires yet another violent act, perpetuating an endless cycle.

Sacrifice, however, directs violence at a scapegoat, a marginalized individual whose death demands no reprisal. Uniting to direct violence towards the sacrificial scapegoat, the community is reinforced through their ritual violence, stopping the otherwise endless cycle of vengeance.

Beginning with Wide Sargasso Sea , I will explore how violent sacrifice serves as a form of agency for Antoinette to resist her Western and patriarchal oppressors, though her agency is still limited.

Sacrificing herself , she claims the position of object and subject of the sacrifice. Through violent sacrifice, she takes control of her life and the violent cycle that otherwise dictates it.

With their revisions, Rhys and Morrison do violence to their origin texts. She exposes the visceral horrors of slavery and thereby does violence to her readers, whom she refuses to accommodate.

As a Creole, Antoinette straddles the boundaries between colonizer and colonized, white and black.

Because of her ambiguous racial position and her status as a woman, Antoinette acts at some moments as oppressor, and others as oppressed.

As a woman, her struggle against her patriarchal oppressors often parallels the struggles of colonized Jamaicans against their white oppressors, while the oppression she faces due to her Creole status both parallels and opposes the colonized struggle at different moments.

In the setting of post-abolition Jamaica, the white colonizers use violence or its threat, codified in legal codes to maintain their hegemonic control, and the newly emancipated Jamaicans attempt to resist their continued oppression with violence.

While the oppressed hope that using violence directly against their oppressors will provide them agency over their lives and a way to free themselves, their violence only sparks further retribution.

While the emancipated Jamaicans employ vengeful violence directly against their oppressors and remain trapped within a cycle of colonial violence, Antoinette enacts violence on herself as a form of sacrifice, ending her life in exchange for agency.

With her sacrifice, Antoinette exchanges her life for the brief yet powerful agency that her society has long denied her as a woman and a Creole.

Whites continue to oppress and degrade their black servants, using violence or its threat to ensure their dominance. The threat of this violence allows the English to maintain their position atop the old racial hierarchy.

At several moments in the text, though, the formerly enslaved Jamaicans attempt to claim agency by directing violence back on their oppressors.

Their rebellion is not an original one, as fire was a common method of slave rebellion. More broadly, they are also ruins of the violent cycle that has long dominated relations between colonizers and colonized, serving as a lingering legacy even after the explicit violence of slavery stops.

The servants hope that in destroying the manor—the physical and domestic structure of their oppression—they can also destroy the rigid racial hierarchy that often leaves them powerless.

The violence the former slaves direct against their oppressors is retaliatory and vengeful, however, and thus does not allow them to achieve the full freedom and agency they desire.

The retributive violence thus necessitates still more violent rebellions and retribution that will continue from both sides.

Promising violent retribution to come, Cora refuses to concede additional power to the colonized servants or the act they have committed.

She does not grant them her fear or submission, but is already looking for her way back to the dominant position on the racial hierarchy through more vengeful violence.

This cycle of vengeful violence also keeps the colonial community deeply divided along racial lines, even incorporating children like Antoinette into its structure.

As her family flees their burning house, Antoinette runs toward Tia and away from her own family. Participating in this scene of vengeful violence, Tia reminds Antoinette that playing the roles of mostly colonizer and colonized, they must remain on opposite sides of society.

Yet, strangely, Tia cries as she throws the stone. The two girls are mirror images, and yet they are trapped, worlds apart.

Although the colonized Jamaicans reveal the violent cycle based on racial divisions, Antoinette reveals a similar cycle in a gendered context.

Of course, these categories of race and gender are not mutually exclusive, often overlapping to create a gradation in social power and standing.

She is specifically contained in the attic where her movement and therefore also her agency to act freely are literally constricted.

It was also custom for colonizers or slaveholders to name their slaves in eighteenth and nineteenth century Jamaica Burnard Therefore, in renaming her, Rochester could also be read as conferring slave status onto his wife.

Although she claims to desire death, Antoinette cannot bring an end to her own life. Instead, she requires Rochester to enable this death for her.

Dependent on Rochester for life as well as death, Antoinette lacks all agency under his control.

She too has failed to gain meaningful agency with retributive violence. Instead, she bears evidence of even greater physical restraint and imprisonment on her wrists, representing her continued lack of power over her body and the domination of her life inflicted by the men around her.

Her mental state remains similarly oppressed in its continued uncertainty, no more agentic after her violence. While her retributive violence on her oppressors attempts to claim agency over her body and identity, it only results in counter-violence and greater restraint, which leaves her, like the colonized Jamaicans, more limited and trapped within a cycle of violence than before.

Unlike vengeful violence, this new form of violence cannot be negated by retributive counteraction. As a result, self-sacrifice is able to break the violent cycle and provide Antoinette agency, although at a devastating cost.

Even if Rochester intends to save her from the fire, his efforts to keep her alive would also hold her captive in a life which deprives her of agency.

He will fail to recreate his control over her, however, because of her sacrifice. She exchanges her life for a moment of agency which she may use to escape her confining conditions.

She thereby preserves his guilt and her own sympathetic victimhood. Enacting violence on herself and claiming this sacrificial rite, Antoinette gains control over the cycle so she cannot be forced back into a place of oppression.

Her self-sacrifice also undermines her society as it provides her with agency that she should not, as a woman and a non-Westerner, be able to access, according to existing dominant power structures.

While during this first fire, Antoinette was the former slave owner attacked by slaves, the second fire positions Antoinette as a slave in revolt against a white master.

Rochester has used the manor to enclose Antoinette, rendering her with no more agency than an insubstantial ghost, like the one she believes she sees when she passes her own reflection in a mirror With the fire of her self-sacrifice, Antoinette will attempt, like the Jamaicans, to change the landscape.

She notes earlier that she believes people and their homes are intimately connected. His reputation, too, could suffer, as the fire makes her experiences visible, elucidating the oppression that has occurred within the gilded cage of the manor.

This self-sacrifice succeeds in providing her agency even as it leaves destruction in her wake. Although Hope presents several interpretations, most compelling is his analysis of the moth as an avatar of Antoinette, due to their shared avian and incendiary characteristics Her attraction to the flames is equally as instinctive and destructive as that of her moth counterpart.

That Antoinette must resort to self-sacrifice to resist colonial and patriarchal oppression exposes both her severe restrictions as well as her defiant commitment to agency.

Rather it is her flaming anger and sexuality, breaking free from white patriarchal containment. Suggesting the power of flight and freedom, they reveal the agency Antoinette has found through her violence to transcend the physical bounds of her attic prison.

Mason, a stand-in for white colonial oppression As the parrot attempts to fly from the flaming wreckage of the manor during the first fire, its captivating and striking death allows Antoinette and her family to escape unharmed.

Illuminated by the flames of her own making and leaping into flight like a bird, at last Antoinette and her story are not only violently visible, but a sight from which we cannot look away.

Here, in her rewriting of a gothic novel, Rhys seems to assert the same view for Antoinette. The self-battering body makes a statement of sorts: these walls might confine me absolutely, but I absolutely refuse to be confined!

As she stands on the edge of the roof, Antoinette envisions her black childhood playmate, Tia.

Suddenly, Antoinette can remember the only individual in her life who accepted her for her in-between, Creole identity. Antoinette will sacrifice herself in a final attempt to bridge the gap between colonizer and colonized—or at least the distance between herself and Tia—reaching out to her childhood friend and the Jamaican parts of her identity that she imagines in the sky as she leaps.

As Antoinette takes control of the cycle of violence through her sacrifice, Rhys suggests there is indeed hope for healing the rift colonialism has wrought; a hope particularly anchored in female community.

Motherhood is, for Rich, a violent institution. As a result, relations between mother and child often reflect power relations of patriarchal society.

Many scholars see slave motherhood as either power or powerlessness. He fails to consider the children as extensions of the mother herself, or the significance of the mother as the enactor of sacrifice.

Just as Antoinette turns violence onto herself to claim agency over her life and the vengeful cycles that have dominated it, Sethe employs violence against her children who are extensions of herself.

Although relying on slave women to bear children and reproduce the slave population, the slave system generally sought to degrade and diminish relationships between slave mothers and their offspring.

Paradoxically, the primary connection between mother and child was what robbed the mother of any parental right. Even before she has her own children, Sethe experiences the debasement of motherhood within slavery through her relationship with her own mother, whom she barely knows.

From within a society that would define her as an interchangeable beast, her motherhood—although marred by slavery—begins to offer her a site of agency and resistance, a power within her powerlessness.

In suckling Sethe, the white boys diminish her to a cow or other breeding livestock. Sethe exists only for their sustenance or sexual pleasure, not for meaningful relationships of her own.

While the mark is a reminder of the trauma haunting her body and mind, it also suggests the hope and strength in her continued connection to her children.

Her motherhood invests this beauty within her, a beauty and value that emerges not despite her past subjugation but as a direct result of it. I got us all out.

Without Halle too. Rather than passing on her enslavement, she employs her motherhood as agency to resist and confer freedom onto her child.

When the slave catchers arrive for violent revenge and the restoration of their property, Sethe seems at their mercy, with few pathways to control her life.

To fight back directly, the narrator implies, will result in beatings or other torture, and certainly a return to slavery. Although Stamp Paid is an agent of the Underground Railroad and no stranger to subversion, he likely recognizes the hopelessness of a direct challenge to these four men fortified by rifles and the law.

Unlike her frozen and helpless companions, Sethe once more asserts her motherhood as agency when she turns violence on herself—through the bodies of her children.

In striking contrast to the individuals outside who are diminished to animal noises or extreme passivity, Sethe calmly and determinedly employs violence to assert her maternal agency over the lives of her children.

She finds herself implicated in the violence that white slave owners have used on her and other black slaves, subsuming others in her own struggle for agency.

While we would expect some mothers to sacrifice their own lives to preserve their children, Sethe performs the reverse. Left no other path to agency, Sethe has hinged her entire subjectivity on her motherhood.

Interpreting the symbiotic relation that develops between the two women, various scholars read Beloved as vampire, zombie, or parasitic creature Yeates.

Although she is losing her very life force, Sethe allows herself to be consumed by Beloved. The agency acquired from these sacrifices is ultimately limited as they displace and devalue the self in favor of something or someone else.

Any agency gained is on behalf of that other. Returning to this moment now, however, the community reconceptualizes these memories to affirm a community which now includes Sethe and Denver within its borders, leaving only Beloved—the embodiment of past trauma—outside.

In place of the warped and violent motherhood Sethe enacted, the women create a new communal motherhood. While after birth, the patriarchal world labelled and defined these women with its words, the women look back to a pre-linguistic moment that belongs to women alone.

In addition to rebirthing or reconceiving motherhood generally, the women also specifically rebirth Sethe. After killing Beloved, Sethe has been haunted and then consumed by the trauma of her past.

Just as baptism brings children into the Christian faith, here the female African American community brings Sethe into its fold. Previously themselves the marginalized objects of domination—the scapegoats used to affirm other societies—now these African American women forcefully claim sacrifice for their own use, creating a community of scapegoats who hold agency and sacred power.

The sacrifice will also inaugurate a new life for Sethe who can at last be recognized as more than a mother. Sacrifice appears twice within Beloved , first employed by Sethe to claim agency over her children and to assert the motherhood the slave system would otherwise deny her.

While this first sacrifice offers Sethe the agency to assert her motherhood and protect her child from slavery, its violent declaration of possession also warps her motherhood.

With the female African American community, the women find the support to transcend past trauma and have hope.

Both Wide Sargasso Sea and Beloved are retellings, drawn from nineteenth century origin texts. Jane Eyre, for instance, describes the life of a free English governess.

Jacobs employs the gothic motif of the pure maiden pursued by a lustful villain. I would argue that the words of authors like Morrison and Rhys also perform violence as they create cultural rather than legal verdicts towards their origin texts.

With the words of their literary adaptations, Rhys and Morrison do not simply celebrate or update the origin texts for modern audiences.

Rather, the retellings challenge the white patriarchal limitations of the origin texts and extend the agency of the female authors and protagonists that precede them.

Not only critiquing earlier restrictions, the retellings then propose new narratives, demanding space for voices which were previously silenced or constrained.

While Jane Eyre argues against gendered oppression, Rhys goes further, considering race. In other words, the moment Bertha expresses her anger in a striking and agentic way, she loses any chance for sympathy or recognition of the complex emotions behind her act of violence.

Jane, as a white Englishwoman, largely adheres to Victorian customs and can therefore be sympathetic and even elegant in her suffering. Engaging in actions too focused on angry vengeance deprives Bertha of sympathetic victimhood.

What Jane casts as vengefully destructive violence and the crazed fall of a madwoman, Rhys excavates as an act which is a nuanced mix of anger, sadness and search for agency.

Instead it is a self-sacrifice performed in a disturbing and yet still rational search for agency. Though this event brings Jane, the Englishwoman, freedom from her figurative slavery, the Creole woman becomes even more constricted.

While to capitulate to imperialism would be to continue to exist in the endless cycles of colonial violence, Antoinette employs a horrible and yet powerful agency to take control of her fate the only way she can.

As a 19 th century gothic novel, Jane Eyre largely adheres to the Western literary conventions of the time. Jane is a pure English girl who fiercely upholds her morals, even when Mr.

Rochester offers the potential for corruption. Their acting is not really up to some dramatic scenes, particularly those in which they may be operating under the influence of voodoo.

Aussie lenser Geoff Burton has done an atmospheric job lensing in Jamaica, buttressed by brief, contrasting scenes in wintry England executed by Gabriel Beristain.

Varied musical score by Stewart Copeland is valuable in knitting together disparate scenes and especially excels during native dance sequences.

Home Film Reviews. Apr 14, am PT. Produced by Jan Sharp. Executive producer, Sara Risher. Directed by John Duigan. Reviewed at Magno Review 2 screening room, N.

Running time: 96 min. With: Antoinette Cosway Karina Lombard Edward Rochester Nathaniel Parker Annette Cosway Rachel Ward Paul Mason Michael York Aunt Cora Martine Beswicke Christophene Claudia Robinson Amelie Rowena King Richard Mason Huw Christie Williams Young Antoinette Casey Berna Nelson Ancile Gloudin Music By:.

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He is also distressed at his animal passions - again, a sense of losing control. His subsequent cruel rejection of Antoinette is shown to be the primary reason for her mental 'instability' - a punishment for her ardent, sensuous nature.

Brendan Maher's direction is striking; cinematography is simply stunning, augmented by lingering shots of mountains wreathed in magical blue mist.

We have a powerful sense of the enchanted yet uncertain world Rochester feels he has found himself in. Hand-held camera-work and zoom lenses, in addition to some quickfire editing, occasionally intercutting various scenes with each other, subtly perpetuate a sense of uncertainty, with sometimes electrifying results.

Rafe Spall plays Rochester. He is portrayed here as a pretty loathsome character, even from the outset, and Spall, to his credit, carries off this role with some aplomb.

Rochester is seen to be self-seeking, suspicious of novelty he fears Jamaica , posh and sarcastic. A true cold fish. Her passion for Rochester is evoked through a series of close, intimate scenes - the camera lingering on her graceful neck, his hands resting on her belly, and when they are married, by numerous graphic scenes of their love-making.

Antoinette's erotic awakening is key to the tale and enacted with delicacy and charm by Rebecca Hall, who is simply wonderful in this role.

She is artless, loving and wholly sympathetic throughout. This is also a tale of Rochester's erotic awakening - but he is less pleased it seems to give vent to his passionate nature, hence he turns to loveless aggression, in a drive to reassert his self-control.

He prefers to view Antoinette's free spirit as lunacy, and is suddenly revolted by her sexuality, deemed so unbecoming in an English gentlewoman.

Thus he chooses to torment her by having loud sex with the maidservant Amelie within her earshot. He also decides to change her name to Bertha - a splendid scene where Antoinette loudly, angrily grieves the loss of her name, her sense of self, dismantled at will by her domineering husband in a desperate attempt to exert his control, to tame her.

Michael York Aunt Cora Martine Beswicke Christophene Claudia Robinson Amelie Rowena King Richard Mason Huw Christie Williams Young Antoinette Casey Berna Nelson Ancile Gloudin Music By:.

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