This essay follows urban wanderings of the bewildered streetwalker in Jean Rhys``s Good Morning, Midnight in order to critically examine gendered conceptions of public space in 1937 Paris. An unmarried British woman in Paris during the 1937 International Exhibition, Sasha is conspicuously peripatetic- not because she feels at home on the city streets but because she has no place to hide in. She is anxious and vulnerable streetwalker, who is extremely conscious of the hostile gaze upon her female body that is less than respectable. Sasha``s hyper-visibility distinguishes her from the male flaneur as “the man of the crowd.” Also, Rhys``s streetwalker diverges from the middle class flaneuse for whom venturing onto the streets might symbolize freedom from domesticity. However, as a marginal subject in the labyrinth-like metropolis without an exit, Sasha exposes the vilence of fascism displayed at the Exhibition and the damage it has done to the psyche of city dwellers.