Although the nameless English husband is not the central figure in Jean Rhys`s Wide Sargasso Sea, Rhys`s reimagining of the Rochester figure in Wide Sargasso Sea deserves more critical attention. While there is no doubt that Rhys emphasizes the cruelty and brutality with which the husband enacts the racial and sexual violence upon a white Creole woman, Rhys`s revision of the Rochester/Bertha relationship resists any reading simplifying the Antoinette/Rochester relationship in the reinscription of the hierarchical dichotomy of the opposite terms between an imperial masculine self and a colonized female other. Rhys`s narrative of the nameless Englishman chronicles the failed quest of the subject-making, the quest for a stable, unitary male subject. Beginning with the necessity to articulate and define his English masculine self, however, the husband`s narrative betrays that he needs to mark Antoinette in the space of the alterity--both racial and sexual--in order to inscribe his English masculinity at the margins of Empire. Marked by ambivalent desire for and fear of the other, the nameless English husband`s narrative undermines the fiction of the unitary English self and blurs polarized binaries between male and female, English and non-English, white and non-white, and the colonizer and the colonized. While raising questions on the concept of unitary English masculinity by drawing on the novels of her literary precursors such as Emily Bronte as well as Charlotte Bronte and building on her earlier work that examines imperial Englishness, Rhys`s Wide Sargasso Sea investigates the complicated dialectics between imperial masculinity and colonial femininity.