By Sonya Andermahr, Lawrence Phillips
Bringing jointly best overseas students of latest fiction and glossy ladies writers, this publication offers authoritative new severe readings of Angela Carter's paintings from numerous cutting edge theoretical and disciplinary methods. 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 assurance of Carter's earliest writings and her journalism in addition to her extra extensively studied novels, brief tales and dramatic works, the publication covers such subject matters as rescripting the canon, surrealism, and Carter's poetics.
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Extra resources for Angela Carter: New Critical Readings
And, as for Florence, my sweetheart, I love her more than I can say; and I never realised it, until this moment’ (Waters 1998: 467). Waters’ utopian vision recalls Carter’s ironic invocation of the dawn of a new century in Nights, although significantly Carter chooses to conclude her novel, not with a millenarian or romantic gesture, but with a giant peel of laughter at the human comedy. There is the sense in Tipping that Nan is moving through a series of inauthentic selves until she attains a truer self at the novel’s end.
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. uk. Accessed on 12 October, 2011. —(2007), Girl Meets Boy, London: Canongate. Waters, S. (1998), Tipping the Velvet, London: Virago, 1998. —(1999), Affinity, London: Virago. —(2002), Fingersmith, London: Virago. —(2009), The Little Stranger, London: Virago. Waugh, P. ), A Concise Companion to Contemporary British Fiction, Malden: Blackwell: 188–208.
This essay has throughout distinguished between the ‘wrong’ body and the ‘right’ one, and argued that the wedding dress acquires different meanings within these opposing contexts – yet one of the things that Carter is suggesting through her manipulation of the image of the wedding dress in all her fiction is that the body it clothes is never quite the ‘right’ one, for no woman can live up to the idealized myth of femininity that traditional bridal apparel represents. Furthermore, all wedding dresses make all brides potentially Gothic subjects in that they are costumes that manufacture women purely as sexual objects, as ‘sexual things’.
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