By Linden Peach (auth.)
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Extra resources for Angela Carter
In the chapters that follow, although I have tried to respect the independence of each text, the emphasis is upon how each of the novels is related to the other works. Although many valuable insights are to be gained from a chronological consideration of her work, there is also a strong cyclical dimension to her oeuvre. Carter herself seems at pains to draw attention to it. Apart from the recurring preoccupation with key themes and ideas, details such as the names of characters are repeated across a range of the texts.
While retaining a critique of identity and culture in late capitalist society, Carter's post-Japan novels are set in postcultural locations which are geographically and temporally farther and farther from 1960s Bristol and the London of The Magie Toyshop. Carter's works are best read not as independent texts, but as part of an ongoing process of writing. Whilst to some degree this may be true of any author, it is especially true of Carter. In the chapters that follow, although I have tried to respect the independence of each text, the emphasis is upon how each of the novels is related to the other works.
She becomes a part-object, 'a panting, wet-lipped nymphet with jutting nubile breasts'. Unlike the real fifteen-year-old who has got older - the card has begun to brown the part-object phantasy is outside of time. The real card and the phantasy card occupy different spaces in which the words 'riding lessons' and 'own jodhpurs' acquire different connotations. But in Shadow Dance, Carter is interested in the space in which these two sets of meanings collide.
Angela Carter by Linden Peach (auth.)