Representing a shift in Carter studies for the 21st century, this book critically explores her legacy and showcases the current state of Angela Carter scholarship. It gives new insights into Carter's pyrotechnic creativity and pays tribute to her incendiary imagination in a reappraisal of Angela Carter's work, her influences and influence. Drawing attention to the highly constructed artifice of Angela Carter's work, it brings to the fore her lesser-known collection of short stories, Fireworks: Nine Profane Pieces to reposition her as more than just the author of The Bloody Chamber. On the way, it also explores the impact of her experiences living in Japan, in the light of Edmund Gordon's 2016 biography and Natsumi Ikoma's translation of Sozo Araki's Japanese memoirs of Carter.

This revised new edition reviews Carter's novels in the light of recent critical developments and offers entirely new perspectives on her work. There is now extended discussion of Carter's most widely-studied novels, including The Passion of New Eve and Nights at the Circus, and discussion of the long essay The Sadeian Woman. This revised new edition reviews Carter's novels in the light of recent critical developments and offers entirely new perspectives on her work. There is now extended discussion of Carter's most widely-studied novels, including The Passion of New Eve and Nights at the Circus, and discussion of the long essay The Sadeian Woman.

Lorna Sage provides a fascinating study of the works of Angela Carter - the most inventive British novelist of her generation. All of Carter's novels and short stories are covered, as well as some non-fiction.

The 20th century witnessed several major cultural movements, including modernism, anti-modernism, and postmodernism. These and other means of understanding and perceiving the world shaped the literature of that era and, with the rise of feminism, resulted in a particularly rich body of literature by women writers. This reference includes alphabetically arranged entries on 58 British women writers of the 20th century. Some of these writers were born in England, while others, such as Katherine Mansfield and Doris Lessing, came from countries of the former Empire or Commonwealth. The volume also includes entries for women of color, such as Kamala Markandaya and Buchi Emecheta. Each entry is written by an expert contributor and includes an overview of the writer's background, an analysis of her works, an assessment of her achievements, and lists of primary and secondary sources. The volume closes with a selected, general bibliography.

Angela Carter, a prolific author who worked in numerous genres, remains one of the most important British writers of the last century. She was particularly renowned for her investigation of cultural mythologies, which shape our lives but which we often leave unexamined. This text explores a selection of Carter's novels and short stories, supplemented with her perspectives on politics, society and aesthetics, and her attempts to redefine popular genres such as the fairy tale. This critical work is a strong addition to the scholarship on this important but often overlooked writer.

Readers will find inspiration and new directions in the cross-cultural and interdisciplinary approaches to fairy tales provided by Re-Orienting the Fairy Tale.

We live in a time of linguistic plainness. This is the age of the tweet and the internet meme; the soundbite, the status, the slogan. Everything reduced to its most basic components. Stripped back. Pared down. Even in the world of literature, where we might hope to find some linguistic luxury, we are flirting with a recessionary mood. Big books abound, but rhetorical largesse at the level of the sentence is a shrinking economy. There is a prevailing minimalist sensibility in the twenty-first century. Novel Style is driven by the conviction that elaborate writing opens up unique ways of thinking that are endangered when expression is reduced to its leanest possible forms. By re-examining the works of essential English stylists of the late twentieth century (Anthony Burgess, Angela Carter, Martin Amis), as well as a newer generation of twenty-first-century stylists (Zadie Smith, Nicola Barker, David Mitchell), Ben Masters argues for the ethical power of stylistic flamboyance in fiction and demonstrates how being a stylist and an ethicist are one and the same thing. A passionate championing of elaborate writing and close reading, Novel Style illuminates what it means to have style and how style can change us. .

In this book Sarah Gamble explores Angela Carter's celebration of the marginal, the balance in her work between history and fantasy, fairy tale and reality, excessive desire and love and looks at how these tensions influenced both the form and content of her fiction. Providing close, perceptive readings of all of Carter's fiction, many of the short stories, as well as the non-fiction writing, Sarah Gamble demonstrates how, throughout her career, Carter wrote with the intention of subverting consensus views of any kind, in particular, the conception of history as unalterable 'master narrative', conventional social codes regarding propriety and 'woman's place', and the artificial distinction between 'high' and 'low' literature. This is an illuminating study of a startlingly original and influential writer which will appeal to students and the general reader alike.

This volumes includes a series of 17 selected essays, preceded by a methodological introduction, whose purpose is to offer a fresh outlook on the question of rewriting-reprising. The argument, taking for granted the phenomenon of intertextuality, develops along three main axes: the first one reconsiders the already debated issue of authority on post-structuralist premises, arguing that the origin of a text is untraceable. The second looks at a phenomenon often associated with reprising, especially in a post-colonial context: trauma, whether individual or historical, in relation to creative repetition. The third axis offers a re-reading of the question of voice, introducing the notion of the textual voice, understood as that part of the enunciative act over which the author has no control. When writers make of reprising a deliberate practise, we are tempted to believe that their position, between homage and pillage, presupposes the existence of a traceable source of the literary Word. We must however face the problematic nature of enunciation, the void on which is is founded. Which leads us to the proposition that the act of reprising is a creation ex nihilo: a certain mode of organisation around that void. Besides, in a century of major man-made traumas, whose effect was the tearing up of social fabrics, reprising will assume a more complex significance: the symptomatic, repetitive stitching of what is being constantly ripped up.