Angela Carter's Pyrotechnics

Charlotte Crofts is Associate Professor of Filmmaking at the University of the West of England, UK. She is editor-in-chief of Screenworks (2006-present). She has published a monograph on Angela Carter, Anagrams of Desire: Angela Carter’s Writing for Radio, Film and Television (MUP, 2003), a chapter ‘Curiously Downbeat Hybrid or Radical Retelling?: Neil Jordan's and Angela Carter's ‘The Company of Wolves’’ in Sisterhoods: Across the Literature/Media Divide (Pluto Press, 1999) and written about her Japanese writings in ‘'The Other of the Other': Angela Carter's 'New-Fangled' Orientalism’ in Re-Visiting Angela Carter: Texts, Contexts, Intertexts, ed. Rebecca Munford (Palgrave Macmillan, 2006). She is currently developing a feature-film adaptation of Angela Carter’s Japanese writings. She co-founded the Angela Carter Society with Caleb Sivyer, and Marie Mulvey-Roberts with whom she is developing a Smart phone app on Carter.Marie Mulvey-Roberts is Professor of English Literature at the University of the West of England, UK. She is the author of Dangerous Bodies: Historicising the Gothic Corporeal (MUP, 2016), winner of the Alan Lloyd Smith Memorial Prize. She has authored, edited and co-edited over 30 books. This will be her third edited book on Angela Carter. Recently she made a film on Carter’s The Bloody Chamber for Massolit, for use in schools (33,000 downloads). She was the co-curator of the Strange Worlds exhibition on Angela Carter at the Royal West Academy of Art in Bristol 2017 and co-edited the catalogue. She is the co-founder of Women’s Writing, for which she serves as Editor and runs two Carter websites with Charlotte Crofts.

• ForewordGina Wisker (University of Brighton, UK)Pyrotechnics: Angela Carter’s Incendiary ImaginationCharlotte Crofts (UWE Bristol, UK) & and Marie Mulvey-Roberts (UWE Bristol, UK)SIGNS & OBJECTS1. Carter and the Japanese Signs: Bunraku, Mishima, Irezumi and Sozo Araki Natsumi Ikoma (International Christian University, Tokyo, Japan)2. Some Kinds of Love: Angela Carter, Art and Objects David Punter (University of Bristol, UK)3. The Chance Encounter of a Stuffed Dodo, a Fallen Star, and a Fruit Woman Automaton… The Secret Life of Things Queering the Museal Gaze in Angela Carter’s Curiosity Cabinets Anna Kérchy (University of Szeged, Hungary)MUSIC, PERFORMANCE & FAIRYTALE4. ‘Down to the Greenwood’: Angela Carter and Traditional FolksongHippolyta C. M. Paulusma (University of Cambridge, UK)5. From Grizelda’s Patience to Feminist Grit: Angela Carter’s ‘The Patience of Grizelda’ as a Hidden Intertext to ‘The Bloody Chamber’Martine Hennard Dutheil de la Rochère (University of Lausanne, Switzerland)6. Of Tales, Tragic Opera, Transformation and ‘Tongues’: Tristan und Isolde in Angela Carter’s The Bloody Chamber Ashley Riggs (University of Geneva, Switzerland)7. Theatre, Adaptation, Angela Carter: A Case StudyBelinda Locke (PhD Queensland University of Technology, Brisbane Australia 2018; Malthouse Theatre, Melbourne, Victoria Australia)WAYS OF SEEING8. ‘What Then?’ Apocalypticism and Angela Carter’s Surrealist Aesthetics Scott A Dimovitz (Regis University, Denver, USA)9. Kaleidoscopes, Stereoscopes and Phantasmagoria: Critical and Creative Ways of Seeing in the Work of Angela CarterCaleb Sivyer (UWE Bristol, UK)10. ‘The Strangeness of the World Made Visible’: Reading Alignments between Angela Carter and Paula Rego Beatrice Bijon (Australian National University, Canberra Australia)MATERIAL BODIES11. Perceiving Pleasures and Appetites in The Bloody Chamber: ‘Surprise me for dessert with every ice-cream in the ice box’ Maria José Pires (University of Lisbon Centre for English Studies, Portugal)12. The Skin that Holds You In: States of Dress and Undress in Angela Carter’s Animal/Human Transformation StoriesCarys Crossen (University of Manchester, UK)13. Angela Carter’s Questioning of ‘Age-appropriate’ Appearance and Behaviour in Wise ChildrenZoe Brennan (UWE Bristol, UK)

The essays are uniformly serious, well researched, clearly written, and impressively innovative. Including 15 illustrations, this book is for those interested in feminism, fairy tales, and, of course, literary theory and women writers.