Hall, Suzanne (1991) Interpretation, gender, and the reader : Angela Carter's self-conscious novels. PhD thesis. http://theses.gla.ac.uk/2508/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] INTERPRETATION, GENDER, AND THE READER: ANGELA CARTER'S SELF-CONSCIOUS NOVELS Suzanne Hall Thesis for the degree Doctor Philosophy submitted of of In the Department English Literature of University Glasgow of June 1991 1991 Suzanne Hall, CONTENTS Abstract iii ............................................... Acknowledgements v ......................................... Introduction 1 ............................................. Chapter 1: Nights the Circus: Reporting, at Reviewing, 34 Reading ...................................... Chapter 2: Interpreting Desire: Centres and Margins in The Infernal Desire Machines Doctor of 85 Hoffman ................................................. Chapter 3: The Character Angela Carter's 'Characters': of The Magic Toyshop, Heroes Villains, Love, The and and Passion New Eve 134 of ..................................... Chapter 4: The Character 'Woman' the of and Question Pornography in The Passion New Eve of of 202 The Sadeian Woman and .................................. Chapter 5: The Liberation the Female Subject? of --I: The Magic Toyshop, Heroes and Villains, and 262 The Passion New Eve of ................................. Chapter 6: The Liberation the Female Subject? of --II: 327 Nights the Circus at ................................... 384 Bibliography ........................................... 403 Appendix ............................................... iii ABSTRACT INTERPRETATION, GENDER, AND THE READER: ANGELA CARTER'S SELF-CONSCIOUS NOVELS by Suzanne Hall This thesis to for the attempts account unusual for interpretation by the Angela problems raised works of they Carter, the as well as particular pleasures which It demonstrates how Carter's provide. self-conscious in fiction the novels speculate about very nature of and, doing the so, challenge conventions which govern way we interpret fiction but not only also ourselves and our is The half the thesis world. second of concerned with issues difference, the of sexual specifically strategies by Carter to demystify the false used universals which govern gender politics. Chapter 1 both Nights the Circus and engages with at in to Carter's a selection of reviews of work order the establish particular reader/text relationships which her fiction demands. The breakdown the traditional of distinction between in The Infernal centre and margins Desire Machines Doctor Hoffman is the focus of Chapter of 2: this incorporates Jacques Derrida's model of chapter invagination in its the distinctive examination of 3 intertextual Carter's displays. Chapters qualities work 4 demonstrate important technique and an strategic employed by Carter's novels to expose and exploit specific interpretation the of reading conventions which underlie identity, Chapter 3 how four character, and gender. shows Love, The Magic Toyshop, Heroes Villains, and novels, and The Passion New Eve, 'realist' mode of of promote a the reader reading character whilst continually reminding is in to demonstrate that character a construction, order illusion the the the of power of conventions which create knowable individuals both fiction. within and outside foregrounds Chapter 4 how The Passion New Eve a shows of feminist 'What is Woman? ' This central question, a the in Carter utilises gender chapter examines ways which those to define the female stereotypes, particularly used body, in order to debunk them. It also contains an iv the debate Carter's account of about pornography which has Finally, Chapters 5 work excited amongst critics. and 6 discuss the New Eve figures Carter's which recur across fiction the feminist and examine affirmative politics it. Chapter 5 the 'What which sustain asks question, liberated female ' Chapter 6, constitutes a subject? while to Nights the Circus, Fevvers returning at celebrates as just figure. Each demonstrates how such a chapter Carter's work continually anticipates readers' responses dramatises its fictional Each chapter and own procedures. to illuminate, from also attempts a variety of the liberating 'reading ' her perspectives, space, which fiction opens up. V ACKNOWLEDGEMENTS First, I like to thank Dorothy would my supervisor, Porter, for her A close and careful readings. number of individual have drafts other people read of chapters and invaluable All have offered critical commentary. but their proffered not only professional expertise also both I to Elin enthusiasm and support. am grateful Diamond, Hugh English, Tom Furniss, Cleo Kearns, George Kearns, Christine Roulston, Cynthia Scheinberg for and their insights, their time, and their care. I would in like to Cora Kaplan, who stepped especially acknowledge this at a crucial moment nearing the end of project, and whose thoughtful and enlightening advice proved an I boost to To owe special enormous my morale. my parents thank to thanks for their transatlantic nurturing; and you daughter Laura Catherine Attridge has taught me so my who the thesis have together. Finally, much as she and grown I like to dedicate this thesis to Derek Attridge would love His with and with gratitude. endless, endless patience has enabled me to accomplish what, on so many impossible. the occasions, seemed INTRODUCTION Just itself that to as anything wants call a is by definition, fiction novel a novel, so can do it to do. I think it do anything wants can things than tend to think it more we can. Angela Carter' 1 John Haffenden, Novelists in Interview (London: Methuen, 1985), 79 (henceforth to p. referred as Novelists). Introduction 2 Although Angela Carter is being widely accepted as the among major contemporary novelists in Britain, there is little still very extended criticism of her work and no booklength study. Since I began this thesis in work on 1985, the bibliography Carter has of studies grown steadily. At the time however, there of writing, are only twenty-three (in English), published articles and only half these her the of engage specifically with novels; deal largely her fiction, others with short particularly her fairytales in The Bloody controversial rewritings of 2 Chamber. In journalism is the many ways, perhaps most for productive medium situating contemporary novelists, there large and are a number of reviews--the publication by Carter is for the of a new work always an event general if the fiction has reader even published enticed few relatively academics. The quality of review material, but the of course, varies enormously, some of commentary in on Carter's work is very suggestive. This may, part, Carter's journalistic her reflect own skills, and particular style of writing. Reviewers tend to polarise 3 into those love those hate her work, and part who and who 2A the series of articles about pornographic tendencies The Bloody Chamber have been published. of their in Chapter 4. summarise arguments be to the All to Carter's references work will editions listed in Bibliography 1, and page numbers will be in the text. given 3 in is This reviews after not always so obvious Nights the Circus the film The Company of Wolves, at and firmly. Carter's more which established reputation to disguise Subsequent antipathetic reviewers attempt Introduction 3 of the aim of this thesis is to it is ascertain what about Carter's writing which generates such extreme responses. Many identify Carter reviewers as a writer concerned with transformation is and change, whose writing affirmative and constructive in a way that much contemporary fiction, particularly fiction by is But, women, not. although these try to the reviewers specify sorts of change which Carter's fictions to appear promote, several also admit that it is difficult to do The extremely so. reviews highlight the interpretation, the problem of specific difficulties that readers--not necessarily academics--have Carter's fiction; this is with and a continuing concern of the thesis. I have incorporated these a survey of reviews into the first draw to inform chapter, and on a selection the the thesis. (The Appendix full details rest of gives ) of all reviews consulted. is how What the demonstrate reviews most vividly difficult it is to Angela Carter's One the place work. of tasks this thesis is to for is of account what special her the tasks this introduction is about work; one of of to Carter's fiction by describing briefly how it situate differs from that resembles or of other contemporary 4 'feminist' in Carter's writers, and writers particular. fiction, however, her does work resists categorization: their intense distaste for her behind a rather work her reluctant recognition of writing skills. 4 Reviewers to Carter's fiction also attempt place by identifying literary influences; Chapter 2. see Introduction 4 fit into not comfortably any particular school of writing, has been different, and given many and often contradictory, labels. Lorna Sage that points out '"placing" Angela Carter [is] difficult, '5 particularly Ian McEwan that is 'all that claims she not assimilable, to be, '6 Eve and one suspects she would not want and Harvey writes: In our compartmentalised, prepackaged world Angela Carter is an anomaly, a publisher's is Like Doris Lessing, nightmare. she one of those defy the rare writers who classification; is that only suitable category unfortunately litýrary sparsely populated area where is the excellence main criterion. This difficulty there has been may partly explain why so little her extended criticism of work. Angela Carter has been 'postmodern' called a writer, but this is the term a problematic characterisation since describes field usually a predominantly male of George Kearns, the experimental writing. at opening of a (male) lists review of several contemporary writers, a features fiction number of of postmodernist and concludes: 'Characteristically it has been known to male, show up as 5 Lorna Sage, Dictionary Literary Biography of (henceforth to DLB) (Detroit, Michigan: referred as Bruccoli Clark, 1982), Vol. 14, 'British Novelists Since 1960, ' 205-12 (p. 205). pp. 6 'Sweet Smell Excess, ' by Ian McEwan, of profile Sunday Times Magazine, 9 September 1984,42-44 (p. 42). 7 Eve Harvey, introduction to "'Fools theme, are my Let be "' in Vector, 109 (1982), 26-36 satire my song, (p. 26).