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interest. Carter's Wayward Girls and Wicked Women (1986) recognised Carrington's “The Debutante” (1937) within Carter's own idiosyncratic mode of feminist literature, while Warner shrewdly describes Carrington's tale-telling as “a kind of black mischief Cinderella.” 75 The more recent reissues of Carrington's short stories by The Dorothy Project and The Silver Press over Carrington's centenary in 2017 are testimony to a growing market of interest, and it is no doubt that these publications have significantly enabled
instance, German sociologist Oskar Negt and filmmaker Alexander Kluge have described the public sphere as a site of competing public spheres, or ‘counterpublics’, and feminist literature scholar Nancy Fraser has articulated a more specific variant of the latter, ‘subaltern counterpublics’, to describe the manner in which marginalized groups contest or compete with the dominant public sphere.86 Fraser conjoins Negt and Kluge’s counterpublic with Gayatri Chakravorty Spivak’s ‘subaltern’, a discursive category to describe a broad range of subjects who are constructed as
deriving from socially imposed situations and conditions, and reading feminist literature drove her to perform Catalysis (1970–73). Iterations were conceived as extensions of previously unresolved interactions, such that she would, for example, enact a resolution of a dispute before an unknowing clerk at the Adrian Piper: the body after conceptualism post office counter or supermarket line. The goal of the performance was simultaneously to be in the state of a pedestrian shopper, rehearsing a scene from her recent past, and enacting an extension of that scene, while