Allyn Gibson wrote:
I can't think of a work that was built around its POV in the same way, but that doesn't mean it's not out there. (And I have a hunch there's something very obvious that I'll smack myself in the head for not thinking of.)
Daphne DuMaurier's Rebecca,
maybe? The fact that the nameless narrator is, in fact, nameless was no doubt a deliberate choice, since it emphasizes the way the narrator feels eclipsed and overshadowed by the long-dead Rebecca.
You wouldn't have gotten the same effect in third-person:
"The previous night, Mary Sue Smith had dreamed of Manderly again."