By Sonya Andermahr, Lawrence Phillips
Bringing jointly best foreign students of up to date fiction and sleek ladies writers, this booklet offers authoritative new severe readings of Angela Carter's paintings from various leading edge theoretical and disciplinary ways. Angela Carter: New severe Readings either evaluates Carter's legacy as feminist provocateur and postmodern stylist, and broaches new flooring in contemplating Carter as, variously, a poet and a ‘naturalist'. together with insurance of Carter's earliest writings and her journalism in addition to her extra largely studied novels, brief tales and dramatic works, the e-book covers such themes as rescripting the canon, surrealism, and Carter's poetics.
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Extra resources for Angela Carter: New Critical Readings
Patterson, C. (2006), ‘Angela Carter: Beauty and the beasts’, The Independent, 18 January. uk. Accessed on 12 October, 2011. Rayner, R. story. Accessed on 12 October, 2011. Roessner, J. (2002), ‘Writing a history of difference: Jeanette Winterson’s Sexing the Cherry and Angela Carter’s Wise Children’, College Literature, 29(1), Winter: 102–22. Russo, M. (1997), The Female Grotesque: Risk, Excess and Modernity. London & New York: Routledge. Sage, L. uk. Accessed on 12 October, 2011. Smith, A. (2001), Hotel World, London: Hamish Hamilton.
And, just as Carter’s novels from 1979 onwards ‘can be viewed as positioning themselves in ironic relationship to the Thatcherite return of “Victorian values” ’ (Gamble 2006: 166), Winterson’s historiographic metafictions of the late 1980s may be viewed as an attack on Thatcherism from the space of fantasy. , 163) in which the political target is turned into spectacle. Ali Smith is the most politically engaged of Carter’s successors. Girl Meets Boy links the Ovidian myth of Iphis (in which a mother disguises her daughter as a boy to avoid its death at the hands of her father), to the contemporary phenomenon of female infanticide.
13–14). This is a more ironic question than she could know, since the image she is contemplating at this moment is indeed that of a dead woman. The day after Melanie’s abortive visit to the midnight garden, she receives the news that both of her parents have been killed in a plane accident; a tragedy that she immediately attributes to her appropriation of the dress: ‘ “It is my fault,” she told the cat. . “It is my fault because I wore her dress. , 24). The fate suffered by Melanie’s mother constitutes a cautionary tale warning of the dangers of regarding marriage as the purpose of one’s life.
Angela Carter: New Critical Readings by Sonya Andermahr, Lawrence Phillips