2 Angela Carter Quotations Clc 1195094839491860 1

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Angela Carter

Text of 2 Angela Carter Quotations Clc 1195094839491860 1

  • imagery derived from subterranean areas behind everyday experience.

    Angela Carter 1974 from Fireworks

  • Gothic tales, cruel tales, tales of wonder, tales of terror, fabulous narratives that deal directly with the imagery of the unconscious.

    Angela Carter 1974 from Fireworks

  • The Bloody Chamber uses the story form obliquely, variously, from ten strikingly different angles.

    Helen Simpson, 2006 in the Introduction to The Bloody Chamber

  • a variety of portraits of desire and sexuality

    Helen Simpson, 2006 in the Introduction to The Bloody Chamber

  • Carter was later to come under attack for not busting enough taboos than she did.

    Helen Simpson, 2006 in the Introduction to The Bloody Chamber

  • elicits furious hostility from a significant number of students.

    Helen Simpson, 2006 in the Introduction to The Bloody Chamber

  • She loved to describe the rich trappings of luxury, to display rich scenery in rich language.

    Helen Simpson, 2006 in the Introduction to The Bloody Chamber

  • To be the object of desire is to be defined in the passive case.To exist in the passive case is to die in the passive case that is to be killed.This is the moral of the fairy tale about the perfect woman.

    Angela Carter in an epigraph of The Sadeian Women

  • Images of meat, naked flesh, fur, snow, menstruation, mirrors and roses recur fugue-like throughout, giving these stories an unmistakable family resemblance, different thought they are from each other in approach.

    Helen Simpson, 2006 in the Introduction to The Bloody Chamber

    *Of course, the most important word here is subterranean the sense that something deep dark and hidden is lurking buried beneath everything we say and do. The banality of life is cloaked by what really lies beneath. The hidden room in the Bloody Chamber for example is both a literal image of the locked room, but also the metaphorical image of the deepest darkest secrets that a man might have. In this case, as our heroine finds out, it is the sense of masochistic desire on the part of her husband. Why give her the key unless he knows she will use it? He wants to inflict pain on her and on all women.This is what Carter exposes.This is, in part, the power of her message.*Of course, this puts forward the idea that what makes the tales so appealing, apart from their richness and fantastic storytelling is that they are helping to explore our inner fears and worries, our desires and doubts, our loves and our hates. The unconscious self is what is on the inside, within the human condition and Carters words come alive because she uses a known model with which we are at once comfortable and she makes us uncomfortable with it. Remember, she says she knew the worst wolves are hairy on the inside in the Company of Wolves and this motto of hair as a symbol of the cruel and terrific nature of her male characters is continually repeated whether in Bluebeard, Mr. Lyon or even the Erl-King.*But remember each tale is different and despite their often repeated thematic or symbolic references there are key differences. Puss in Boots is meant to be light, lyrical and amusing; The Snow Child gives us shocking depravity emphasised in the bleak setting and the brevity of words; The Bloody Chamber, some thirty times longer is luxuriant and detailed and we are intoxicated by the richness of words in the most traditional of all the tales the twist is perhaps quite obvious as there is certainly no man who will ever rescue our heroine; The Courtship of My. Lyon and The Tigers bride are both retellings of Beauty and the Beast stories but with very different final points (in one the beast is transformed into a human by the power of our heroine, in the other the female character becomes a beast herself as she literally has the skin licked from her in a metaphorical smashing of the myth that beauty can turn the beast.*But we mustnt forget who is involved here. It is not a simple case of stereotypical assertions about sexuality however Carter does very much stress the sense of heterosexual desire relating to both her male and female characters. *Contextually it has been argued that she could have been far more daring why couldnt Cinderella end up sleeping with her fairy Godmother after all?

    *I have some personal experience of this one**She is the master of the pathetic fallacy; of using such clever and ponderous word choices as to make analysis of any one story a very long event; of the symbolic depth of certain motifs and ideas (especially flowers, hair/leather, music, precious stones, colours in all their ambiguities and harshness)*So Carter is reinventing her version of a perfect woman. No one of her female characters is ever that passive; there are hints throughout. Our heroine in The Bloody Chamber is not innocent in that she understands she will gain enormous wealth by marriage; our Red Riding Hood characters are all young women, blooming and bursting with sexuality (they are not Perraults little girls); our Countess is far more powerful in sharing her feminine wiles with the snow child, reminding her pathetic husband that it bites as he slumps back into the passive partner; the Erl king is strangled in his sleep bought on by hypnotic allure*