By Sonya Andermahr, Lawrence Phillips
Bringing jointly best overseas students of latest fiction and glossy girls writers, this publication offers authoritative new serious readings of Angela Carter's paintings from a number of cutting edge theoretical and disciplinary ways. Angela Carter: New serious Readings either evaluates Carter's legacy as feminist provocateur and postmodern stylist, and broaches new floor 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 greatly studied novels, brief tales and dramatic works, the booklet covers such subject matters as rescripting the canon, surrealism, and Carter's poetics.
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Additional info for Angela Carter: New Critical Readings
One reason for critical neglect of Carter’s adaptations may be that she generally adapted her own work, and scholars may assume that authorship remains with Carter for radio versions of The Company of Wolves, Vampirella (later adapted into the story ‘The Lady in the House of Love’), and Puss in Boots. Even Crofts, who clearly signals adaptation as a process involving distinct media, tends to ignore Carter’s collaboration with others on these projects. Even with a script by Carter herself, a finished radio production receives input from producers, actors, directors and many others.
Here I offer a rather different way of reading the transformation scenes and their effects-driven spectacle. , 71), pointing out that her work, in seeking to challenge gender norms for women, inevitably challenges masculine roles and representations too. The Company of Wolves does this by contrasting an assertive female protagonist with images of male abjection, as well as masculine power and violence. . are defined as much through the pain they themselves experience as the pain they cause others’ (Hutchings 2004: 162): the male werewolf is an object of pathos as well as of horror.
12). She cannot survive the destruction of the wedding dress because her very being is contained within it: with it gone, she is, quite literally, nothing. Carter revisited the wedding dress trope in Heroes and Villains, published in 1969. She claimed this book as her first properly Gothic novel, saying in 1977 that she had become ‘very irritated at the Gothic tag’ that reviewers habitually attached to her work and, as a retort, decided to show them what a Gothic novel really was: ‘owls and ivy and ruins and a breathtakingly Byronic hero’ (Bedford 1977).