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Shortly before her death Angela Carter was preparing this volume of short stories, one which does full justice to the glory of her imagination and the range of her talent. It is divided into distinct parts. The first comprises a group of stories inspired by America: Lizzie Borden visits a circus; a John Ford Western is spiced with the story of 'TIS PITY SHE'S A WHORE' and there is a wonderful Gothic extravaganza set in Hollywood. The second section - OLD WORLD WONDERS - draws on fairy tales (Cinderella), on the story of Mary Magdalene, on the folklore of pantomime, on ALICE IN WONDERLAND, an on medieval legend. These stories represent Angela Carter at her most acrobatic and dazzling: erudite, witty, sexy and enthralling. A book to delight her many, many fans.
Old Louisville in Louisville, Kentucky, is the third-largest National Preservation District in the United States and the largest Victorian-era neighborhood in the country. Beneath the balconies and terraces of the district's Gothic, Queen Anne, and Beaux Arts mansions, current residents trade riveting stories about their historic homes. Many of these tales defy rational explanation. When David Dominé moved into one of these houses, he dismissed local rumors of a resident poltergeist named Lucy. However, before long, unnerving, disembodied footsteps and mysterious odors caused him to flee his home in the middle of the night. Since that night, David Dominé not only embraced the possibility of supernatural phenomenon but also turned it into a popular tour series and best-selling collection of books, which have brought new attention to this iconic neighborhood. The book that launched the guided tours, Ghosts of Old Louisville, introduced readers to the hauntingly beautiful Lady of the Stairs and the Widow Hoag, who waits eternally near Fountain Court for a lost child who will never return. These tales of things that go bump in the night not only reveal why Old Louisville is considered the "most haunted neighborhood in America," but also help to preserve this historically and architecturally significant community.
Although the short story has existed in various forms for centuries, it has particularly flourished during the last hundred years. Reader's Companion to the Short Story in English includes alphabetically-arranged entries for 50 English-language short story writers from around the world. Most of these writers have been active since 1960, and they reflect a wide range of experiences and perspectives in their works. Each entry is written by an expert contributor and includes biography, a review of existing criticism, a lengthier analysis of specific works, and a selected bibliography of primary and secondary sources. The volume begins with a detailed introduction to the short story genre and concludes with an annotated bibliography of major works on short story theory.
This book revives and revitalises the literary Gothic in the hands of contemporary women writers. It makes a scholarly, lively and convincing case that the Gothic makes horror respectable, and establishes contemporary women’s Gothic fictions in and against traditional Gothic. The book provides new, engaging perspectives on established contemporary women Gothic writers, with a particular focus on Angela Carter, Margaret Atwood and Toni Morrison. It explores how the Gothic is malleable in their hands and is used to demythologise oppressions based on difference in gender and ethnicity. The study presents new Gothic work and new nuances, critiques of dangerous complacency and radical questionings of what is safe and conformist in works as diverse as Twilight (Stephenie Meyer) and A Girl Walks Home Alone (Ana Lily Amirpur), as well as by Anne Rice and Poppy Brite. It also introduces and critically explores postcolonial, vampire and neohistorical Gothic and women’s ghost stories.
From her unique standpoint as singer-songwriter-scholar, Polly Paulusma examines the influences of Carter's 1960s folk singing, unknown until now, on her prose writing. Recent critical attention has focused on Carter's relationship with folk/fairy tales, but this book uses a newly available archive containing Carter's folk song notes, books, LPs and recordings to change the debate, proving Carter performed folk songs. Placing this archive alongside the album sleeve notes Carter wrote and her diaries and essays, it reimagines Carter's prose as a vehicle for the singing voice, and reveals a writing style imbued with 'songfulness' informed by her singing praxis. Reading Carter's texts through songs she knew and sang, this book shows, from influences of rhythm, melodic shape, thematic focus, imagery, 'voice' and 'breath', how Carter steeped her writing with folk song's features to produce 'canorography': song-infused prose. Concluding with a discussion of Carter's profound influence on songwriters, focusing on the author's interview with Emily Portman, this book invites us to reimagine Carter's prose as audial event, dissolving boundaries between prose and song, between text and reader, between word and sound, in an ever-renewing act of sympathetic resonance.
Angela Carter's provocations to laughter and her enchantment with ludic narrative strategies are two key aspects of her aesthetic practice, neither of which has been the focus of sustained study. Ludics and Laughter as Feminist Aesthetic: Angela Carter at Play responds to this lacuna in Carter criticism. This international collection of eleven essays from acclaimed Carter scholars and emerging voices in the field of Carter studies seeks to reclaim play as a serious undertaking for feminist writing and scholarship and to foreground laughter as a potent affect. While Carter's work turned to comedy in the later years, from the first publication in 1966 until her last in 1992, her fiction, poetry and journalism engaged in sharp social and cultural critique; she habitually engaged this critique through ludic structures and wickedly funny narratives that challenged conventional norms and ways of thinking. Contributors explore the diverse ways in which Carter compelled a complex and often uneasy laughter by means of a controversial aesthetic that merges a persistently ludic sensibility with a biting intransigent wit. This volume draws on theories of play, surrealism, feminism, as well as studies of feminist humour and Carter's own journals and diaries to reveal the ways in which her work moves readers towards the unexpected. This volume will be of relevance both to scholars of Carter's work and of feminist humour more generally; as well, it will be of interest to students and general readers of Carter's fiction, journalism and poetry.
Considers the profound influence of fairy tales on contemporary fiction, including the work of Margaret Atwood, A.S. Byatt, Angela Carter, Robert Coover, Salman Rushdie, and Jeanette Winterson. Recent decades have witnessed a renaissance of interest in the fairy tale, not least among writers of fiction. In Contemporary Fiction and the Fairy Tale, editor Stephen Benson argues that fairy tales are one of the key influences on fiction of the past thirty years and also continue to shape literary trends in the present. Contributors detail the use of fairy tales both as inspiration and blueprint and explore the results of juxtaposing fairy tales and contemporary fiction. At the heart of this collection, seven leading scholars focus on authors whose work is heavily informed and transformed by fairy tales: Robert Coover, A. S. Byatt, Margaret Atwood, Angela Carter, and Salman Rushdie. In addition to investigating the work of this so-called fairy-tale generation, Contemporary Fiction and the Fairy Tale provides a survey of the body of theoretical writing surrounding these authors, both from within literary studies and from fairy-tale studies itself. Contributors present an overview of critical positions, considered here in relation to the work of Jeanette Winterson and of Nalo Hopkinson, suggesting further avenues for research. Contemporary Fiction and the Fairy Tale offers the first detailed and comprehensive account of the key authors working in this emerging genre. Students and teachers of fiction, folklore, and fairy-tale studies will appreciate this insightful volume.
“I would regard myself as a feminist writer, because I’m a feminist in everything else and one can’t compartmentalise these things in one’s life.” (Angela Carter) “When I became a feminist in 1968, I felt that I’d come home: the first home I ever had that was feminine. And it was very wild and theatrical and erotic, the early feminism.” (Michèle Roberts) Angela Carter and Michèle Roberts share a keen interest in gender and sexual identity, but many of their topics seem to mark them as opposites: Roberts’s fascination with the impact of religion, motherhood and autobiography on female identity covers areas that Carter shuns in her writings. In reading these two authors parallel and in contrast to each other, this monograph follows a triple objective: it provides a comprehensive critical introduction to the works of Roberts, explores aspects of Carter’s work that have not yet been analyzed sufficiently (religion, motherhood, and masculinity), and uses both authors to explore motifs and strategies of feminist writing. The analyses of both authors’ works are supplemented by close readings of a wide range of theoretical perspectives (especially French feminism and psychoanalysis) and concise theoretical outlines of the topics covered (radical feminism, religion, motherhood and fatherhood, masculinity, fairy tales, romances and chick lit, and history and auto/biography).
Atlantic Republic traces the legacy of the United States both as a place and as an idea in the work of English writers from 1776 to the present day. Seeing the disputes of the Reformation as a precursor to this transatlantic divide, it argues that America has operated since the Revolution as a focal point for various traditions of dissent within English culture. By ranging over writers from Richard Price and Susanna Rowson in the 1790s to Angela Carter and Salman Rushdie at the turn of the twenty-first century, the book argues that America haunts the English literary tradition as a parallel space where ideology and aesthetics are configured differently. Consequently, it suggests, many of the key episodes in British history-parliamentary reform in the 1830s, the imperial designs of the Victorian era, the twentieth-century conflict with fascism, the advance of globalization since 1980-have been shaped by implicit dialogues with American cultural models. Rather than simply reinforcing the benign myth of a 'special relationship', Paul Giles considers how various English writers over the past 200 years have engaged with America for various complicated reasons: its promise of political republicanism (Byron, Mary Shelley); its emphasis on religious disestablishment (Clough, Gissing); its prospect of pastoral regeneration (Ruxton, Lawrence); its vision of scientific futurism (Huxley, Ballard). The book also analyses the complex cultural relations between Britain and the United States around the time of the Second World War, suggesting that writers such as Wodehouse, Isherwood, and Auden understood the United States and Germany to offer alternative versions of the kind of technological modernity that appeared equally hostile to traditional forms of English culture. The book ends with a consideration of ways in which the canon of English literature might appear in a different light if seen from a transnational rather than a familiar national perspective.
Drawing on many aspects of contemporary feminist theory, this lively collection of essays assesses Angela Carter's polemical fictions of desire. Carter, renowned for her irreverent wit, was one of the most gifted, subversive, and stylish British writers to emerge in the 1960s.