Polly Paulusma is an independent scholar and professional musician based in the UK. Please visit her website www.pollypaulusma.com to know more about her work.

• Preface1 Introduction2 ‘A Singer’s Swagger’: Angela Carter, the Folk Singer3 ‘Me and Not-Me’: Folk Song Praxis and the Gender Imaginary in Shadow Dance4 ‘An Invented Distance’: Folk Songs, Sonic Geographies, and The Erl-King’s Greenwood 5 ‘Moving Through Time’: Folk Songs, Journeys and the Picaresque in ‘Reflections’ and The Infernal Desire Machines of Doctor Hoffman6 ‘Only a Bird in a Gilded Cage’: Folk Songs, Avianthropes and the Canorographic Voice in ‘The Erl-King’ and Nights at the Circus7 ‘A Continued Thread’: Angela Carter and the Folk Singer Emily Portman8 Sympathetic ResonancesBibliography

In Angela Carter and Folk Music: ‘Invisible Music’, Prose and the Art of Canorography, Paulusma offers us a rigorous blueprint for this new enquiry. In clear yet entertaining prose, discussions are made with precision and concision, and her burgeoning theory underpins each topic of debate so there is no tangential waywardness. This is a tantalizing proposal for Carter and music-literary scholars alike.

Polly Paulusma is an independent scholar and professional musician based in the UK. Please visit her website www.pollypaulusma.com to know more about her work.

• Preface1 Introduction2 ‘A Singer’s Swagger’: Angela Carter, the Folk Singer3 ‘Me and Not-Me’: Folk Song Praxis and the Gender Imaginary in Shadow Dance4 ‘An Invented Distance’: Folk Songs, Sonic Geographies, and The Erl-King’s Greenwood 5 ‘Moving Through Time’: Folk Songs, Journeys and the Picaresque in ‘Reflections’ and The Infernal Desire Machines of Doctor Hoffman6 ‘Only a Bird in a Gilded Cage’: Folk Songs, Avianthropes and the Canorographic Voice in ‘The Erl-King’ and Nights at the Circus7 ‘A Continued Thread’: Angela Carter and the Folk Singer Emily Portman8 Sympathetic ResonancesBibliography

In Angela Carter and Folk Music: ‘Invisible Music’, Prose and the Art of Canorography, Paulusma offers us a rigorous blueprint for this new enquiry. In clear yet entertaining prose, discussions are made with precision and concision, and her burgeoning theory underpins each topic of debate so there is no tangential waywardness. This is a tantalizing proposal for Carter and music-literary scholars alike.

Polly Paulusma is an independent scholar and professional musician based in the UK. Please visit her website www.pollypaulusma.com to know more about her work.

• Preface1 Introduction2 ‘A Singer’s Swagger’: Angela Carter, the Folk Singer3 ‘Me and Not-Me’: Folk Song Praxis and the Gender Imaginary in Shadow Dance4 ‘An Invented Distance’: Folk Songs, Sonic Geographies, and The Erl-King’s Greenwood 5 ‘Moving Through Time’: Folk Songs, Journeys and the Picaresque in ‘Reflections’ and The Infernal Desire Machines of Doctor Hoffman6 ‘Only a Bird in a Gilded Cage’: Folk Songs, Avianthropes and the Canorographic Voice in ‘The Erl-King’ and Nights at the Circus7 ‘A Continued Thread’: Angela Carter and the Folk Singer Emily Portman8 Sympathetic ResonancesBibliography

In Angela Carter and Folk Music: ‘Invisible Music’, Prose and the Art of Canorography, Paulusma offers us a rigorous blueprint for this new enquiry. In clear yet entertaining prose, discussions are made with precision and concision, and her burgeoning theory underpins each topic of debate so there is no tangential waywardness. This is a tantalizing proposal for Carter and music-literary scholars alike.