Extending and twisting this argument, I propose that Good Morning, Midnight presents a counterdiscursive refiguration of the lofty Image of thought as Deleuze describes it - in image composed of the presuppositions that attend a universal ‘I think’. Serge insists on gifting the picture to Sasha, but Sasha, although touched by Serge’s gesture, arranges to pay for it. When I remember how one well-directed ‘Oh, my God,’ lays me out flat in London, I can only marvel at the effect this place has on me.

Good Morning, Midnight: Masks and Consequences | The Artifice Good Morning, Midnight: Masks and Consequences | The Artifice

Wendy Doniger confirms Eliot’s notion and argues that the masks people wear are not so far removed from the true face that lies beneath. I have decided on a place to eat in at midday, a place to eat in at night, a place to have my drink in after dinner. Because of this tendency to cry, she’s well acquainted with the many bar bathrooms of Paris, where she escapes to weep while staring at herself in the mirror. In Good Morning, Midnight Rhys created the powerfully modern portrait of Sophia Jansen, whose emancipation is far more painful and complicated than she could expect, but whose confession is flecked with triumph and elation.Balancing this focus on fascism the text’s refusal to address this spectacle directly also offers a refusal of the politicisation of art. An undisputed factor is the weak French economy and the large influx of refugees and immigrants in the interwar years which, by the 1930s, was resulting in high competition for jobs.

Good Morning, Midnight Themes | LitCharts Good Morning, Midnight Themes | LitCharts

As our hosts shine the spotlight on strange, funny and sometimes disturbing novels by Flann O’Brien, Jean Rhys and Kurt Vonnegut, listeners are invited to inhabit their eccentric worlds - gaining a deeper understanding of their workings and the unique literary minds that created them. Throughout the evening, René hassles Sasha to provide him with recommendations for London and boasts of his envisioned success with the wealthy American to whom he hopes to become attached.Her gaze at the commis makes sense as an encounter with nonrecognition, with that which cannot be thought, but which ‘perplexes’ the soul and ‘forces it to pose a problem’ (DR: 176).