Angela Carter

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Carter, Angela,

1940–92, English writer. She was a newspaper reporter before studying at the Univ. of Bristol (B.A., 1965), where she explored medieval literature, Freud, surrealism, and feminism, all of which were to exert powerful influences on her work. Her early novels, Shadow Dance (1966) and The Magic Toyshop (1967, film 1986), are Gothic works filled with violence. After translating (1976) Charles PerraultPerrault, Charles
, 1628–1703, French poet. His collections of eight fairy tales, Histoires ou contes du temps passé [stories or tales of olden times] (1697) gave classic form to the traditional stories of Bluebeard, Sleeping Beauty, Cinderella, Puss in
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's fairy tales, she began her finest and most famous book, The Bloody Chamber (1979), sensual and strangely beautiful adaptations of fairy tales such as Beauty and the Beast and Bluebeard. The film Company of Wolves (1984), which she cowrote, is adapted from that collection's version of Little Red Riding Hood. Her other novels include The Passion of New Eve (1977), Nights at the Circus (1984), and Wise Children (1991). Her short stories are collected in Burning Your Boats (1995) and her miscellaneous articles in Nothing Sacred (1992) and Shaking a Leg (1998). She also wrote the nonfiction feminist study The Sadeian Woman and the Ideology of Pornography (1979) and children's books.


See biography by E. Gordon (2017); studies by L. Tucker, ed. (1998), A. Day (1998), L. Sage (2006 and, as ed., 2009), A. Easton, ed. (2000), S. Gamble (2009), L. Peach (2009), S. Andermahr and L. Phillips, ed. (2012), J. Bristow and T. L. Broughton (2014), and C. Frayling (2015).

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That said, it's hard to imagine another work supplanting The Invention of Angela Carter as the definitive biography of this singular writer.
The Invention of Angela Carter provides many important correctives on Carter--her life and personality, for example, but also her feminism.
I would imagine that anyone approaching Edmund Gordon's comprehensive biography, The Invention of Angela Carter, has a memorable "first time" with Carter.
Re-reading Angela Carter is both a rich reminder of her original freshness, her subsequent influence and a constant surprise, a new delight at the baroque, wicked, brilliant writing and interweaving of ideas and arguments.
And I follow Angela Carter in finding interpretation to be a creative act, a form of story-telling: "Reading is as creative an activity as writing," Carter wrote, "and most intellectual development depends on new readings of old texts." So please join me in welcoming Cristina Bacchilega as she takes on the role of storyteller, and brings us into her readings, in this talk titled "Where Can Wonder Take Us?"
Some time in the early 1960s, Angela Carter was asked to name her favourite women writers.
Yet, in the same line with all the stories in The Bloody Chamber, Angela Carter does not designate clear-cut divisions between the binaries and again the predator and prey, active and passive, intermingle.
With a world-wide reputation for excellence in transnational poetics, Angela Carter's oeuvres transcend even the fairy tales upon which they are based.
Their latest EP is based on the stories from Angela Carter's Book of Fairy Tales and one story in particular, The Girl Who Stayed In The Fork Of A Tree.
Among his university tutors was the author Angela Carter, who he credits with inspiring him.
The response has been overwhelming positive, and even if I wasn't practically stalking my own reviews, I'd still catch the comparisons that are being repeatedly made--to Angela Carter, Francesca Lia Block, Neil Gaiman--all of whom I've already claimed as inspirations.
Scholars and students interested in modernism and postmodernism as well as in literature written by women should not miss the enjoyment of reading these essays which highlight the distinctive features of the short stories written by Virginia Woolf, Katherine Mansfield, Elizabeth Bowen, Angela Carter and Ali Smith.