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The play’s the thing
Robert Duggan

Chapter 2 Angela Carter: the play’s the thing A universal cast of two-headed dogs, dwarfs, alligator men, bearded ladies and giants in leopard-skin loin cloths reveal their singularities in the sideshows and, wherever they come from, they share the sullen glamour of deformity, an internationality which acknowledges no geographic boundaries. Here, the grotesque is the order of the day. (‘The Loves of Lady Purple’ in Burning Your Boats, 1996, 42, first published in Fireworks 1974) The invocation of the grotesque as the order of things is memorably marked in this

in The grotesque in contemporary British fiction
Marie Mulvey-Roberts

80 The arts of Angela Carter 4 Angela Carter’s poetry Sarah Gamble A ngela Carter was an assiduous fashioner of her own autobiographical narrative, which became ever more stylized and repetitive as the years went by. Twenty-five years after her death, her own life-account has not been substantially challenged: following the script that she herself set out, we talk of Carter the novelist, the short story writer and the cultural commenter; Carter as feminist, socialist and demythologizer. Not until recently, however, has she also been identified as a poet

in The arts of Angela Carter
A cabinet of curiosities

This book aims to give new insights into the multifarious worlds of Angela Carter and to re-assess her impact and importance for the twenty-first century. It brings together leading Carter scholars with some emerging academics, in a new approach to her work, which focuses on the diversity of her interests and versatility across different fields. Even where chapters are devoted specifically to her fiction, they tend to concentrate on inter-disciplinary crossings-over as in, for example, psychogeography or translational poetics. This collection is a response to the momentum arising from commemorative events to mark the twenty-fifth anniversary since her death, including the first art exhibition inspired by her life and work. The arts of Angela Carter builds on existing scholarship and makes new interventions in regard to her inter-disciplinarity. The arrangement of the material, indicated by the chapter headings, draws attention to a variety of areas not normally associated with dominant perceptions of Angela Carter. These encompass fashion, art, poetry, music, performance and translation, which will be discussed in a number of historical, literary and cultural contexts. The book will also explore her interests in anthropology and psycho-analysis and engage in current debates relating to gender, feminism and postmodernism.

From Baudelaire to Black Venus
Marie Mulvey-Roberts

98 The arts of Angela Carter 5 Angela Carter’s objets trouvés in translation: from Baudelaire to Black Venus Martine Hennard Dutheil de la Rochère Translating someone else’s writing can be a way of easing oneself back into one’s poetry, using the other writer’s work as a point of inspiration. (Bassnett, 2011: 166) A n enthusiastic, if slightly baffled, review of The Infernal Desire Machines of Doctor Hoffman aka The War of Dreams (1972), published 14 August 1974 in Kirkus Reviews, stresses the translated character of Angela Carter’s surrealist

in The arts of Angela Carter
Religion, misogyny, myth and the cult
Marie Mulvey-Roberts

Angela Carter’s ‘rigorous system of disbelief ’ 145 7 Angela Carter’s ‘rigorous system of disbelief ’: religion, misogyny, myth and the cult Marie Mulvey-Roberts I n response to Lorna Sage’s question in a 1977 interview as to whether ‘one needs still to be anti-God’, Angela Carter was in no doubt, saying, ‘Oh yes! It’s like being a feminist, you have to keep the flag flying. Atheism is a very rigorous system of disbelief, and one should keep proclaiming it. One ought not to be furtive about it’ (Sage 1977: 57). Carter debunked religion through two short

in The arts of Angela Carter
Marie Mulvey-Roberts

Intermedial synergy in Angela Carter’s short fiction 17 1 Intermedial synergy in Angela Carter’s short fiction Michelle Ryan-Sautour We travel along the thread of narrative like high-wire artistes. That is our life. (Carter, 1992: 2) I n the introduction to Angela Carter’s The Curious Room: Collected Dramatic Works, Susannah Clapp speaks of a startling array of images discovered in Carter’s study following her death: ‘Drawings and paintings spilled out of these drawers’ (Clapp, 1997: ix). For Clapp these elements are more than anecdotal; they open up new

in The arts of Angela Carter
Chiharu Yoshioka

The Gothic is the discourse which embodies the dialectic of the Enlightenment, with its potential to push the frontier of reason into the mythologized darkness. Embarking on the use of genre fiction as political discourse and finding a voice to tell a story of her generation, Carter made a major breakthrough in her career. Making use of the Gothic palimpsest, Carters Marianne leaves behind the sphere of (feminine) ‘interiority’-the psychic spaces of desire and anxiety for the (supposedly masculine) catharsis in the Other world, as a sixties heroine of sensibility. Heroes and Villains calls for the reconstruction of enlightenment at the ‘post-modern’ ruins of civilization.

Gothic Studies
Angela Carter‘s Exposure of Flesh-Inscribed Stereotypes
Mariaconcetta Costantini

The human body is a crucial site for the inscription of cultural paradigms: how people are perceived controls the way they are treated. Postmodernist writers have shown sexual roles, racial inequalities and other forms of discrimination to be parts of a process of reductio ad absurdum, consisting of the identification of the individual‘s social functions with their anatomical features as well as with the habitual marking of their bodies. This article examines Angela Carter‘s The Infernal Desire Machines of Doctor Hoffman where Carter‘s refusal of established body politics is most clearly dramatised. This novel exposes the dreary consequences of power/weakness relations, together with its contradictory exploitation of Gothic devices, making it an esssential testimony to Carter‘s postmodernist reconfiguration of worldviews and narrative modes.

Gothic Studies
Blake and the Science-Fiction Counterculture
Jason Whittaker

This article explores the more detached and ironic view of Blake that emerged in the 1970s compared to appropriations of him in the 1960s, as evident in three science-fiction novels: Ray Nelson’s Blake’s Progress (1977), Angela Carter’s The Passion of New Eve (1977), and J. G. Ballard’s The Unlimited Dream Company (1979). In adopting a more antagonistic posture towards Blake, all three of these books reflect increasingly ambivalent attitudes towards the countercultures of the 1960s, and can be read as critical of some of those very energies that the Romantic movement was seen to embody. Thus Nelson rewrites the relationship of William and Catherine, in which the engraver comes under the influence of a diabolic Urizen, while Carter recasts the Prophet Los as a Charles Manson-esque figure. Even Ballard, the most benign of the three, views Blakean energy as a release of potentially dangerous psychopathologies. In all the novels, we see a contrarian use of misprision, rewriting Blake as Blake had rewritten Milton.

Bulletin of the John Rylands Library
Author: Robert Duggan

Contemporary British writing moves in a variety of directions, and the object of this study is the exploration of a particularly fertile path some recent British fiction has taken. This book reveals the extent to which the grotesque endures as a dominant artistic mode in British fiction. It presents a new way of understanding authors who have been at the forefront of British literature over the past four decades. The book examines the history of the grotesque in visual art and literature together with its historical and theoretical accounts. Criticism historically has often represented the grotesque in the work of an author as the product of the personal habits and idiosyncrasy of the writer. Devoted to the late Angela Carter, the book considers the hallucinating characters, monstrous metamorphoses and disorientating play with perspective and scale that all point to the importance of the grotesque in fiction. Looking at the work of Martin Amis in the light of the grotesque in literature, it examines his novels Money: A Suicide Note and London Fields. The presence of the grotesque, with its characteristic contradictory elements, in Ian McEwan's fiction offers a sustained engagement with issues of subject formation. The grotesque provides a theoretical model capable of investigating both the principal narrative energies and the controlled structures of Iain Banks's fiction, acknowledging his place within the Scottish and wider European literary traditions of the grotesque. The book also looks at works of Will Self and Toby Litt.