The Caribbean Islands have long been an uneasy meeting place among indigenous peoples, white European colonists, and black slave populations. Tense oppositions in Caribbean culture—colonial vs. native, white vs. black, male conqueror vs. female subject—supply powerful themes and spark complex narrative experiments in the fiction of Dominica-born novelist Jean Rhys. In this pathfinding study, Mary Lou Emery focuses on Rhys's handling of these oppositions, using a Caribbean cultural perspective to replace the mainly European aesthetic, moral, and psychological standards that have served to misread and sometimes devalue Rhys's writing.

Emery considers all five Rhys novels, beginning with Wide Sargasso Sea as the most explicitly Caribbean in its setting, in its participation in the culminating decades of a West Indian literary naissance, and most importantly, in its subversive transformation of European concepts of character. From a sociocultural perspective, she argues persuasively that the earlier novels—Voyage in the Dark, Quartet, After Leaving Mr. Mackenzie, and Good Morning, Midnight—should be read as emergent Caribbean fiction, written in tense dialogue with European modernism. Building on this thesis, she reveals how the apparent passivity, masochism, or silence of Rhys's female protagonists results from their doubly marginalized status as women and as subject peoples. Also, she explores how Rhys's women seek out alternative identities in dreamed of, magically realized, or chosen communities.

These discoveries offer important insights on literary modernism, Caribbean fiction, and the formation of female identity.

Jews, women, and animals have been notoriously considered in Western thought as antithetical to the “civilized,” and therefore parallel. The trope of the womanized Jewish man has been widely recognized as a staple in otherizing portrayals of European Jews, as well as their self-perception. Similarly, ecofeminist critique has addressed the ubiquitous depiction of the animalized woman throughout history. Yet, the interconnection between the effeminization of Jews and the animalization of women has been overlooked. 

The Jew, the Beauty, and the Beast critically explores the tangled interplay between Jewishness, gender, and animality and its manifestation in modernist Hebrew fiction. Through interdiscursive analysis and close readings, the effeminate Jew is examined vis-à-vis the animalized woman. Intertwining cutting-edge theoretical frameworks of posthumanism and animal studies with established scholarship of Hebrew literature, Jewish studies, and gender studies, Naama Harel offers new Hebrew literary historiography and innovative perspectives on canonical works by Shmuel Yosef Agnon, Devorah Baron, Micha Yosef Berdichevsky, Yosef Haim Brenner, Uri Nissan Gnessin, and David Vogel.