By Linden Peach (auth.)
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Extra info for Angela Carter
However, the association is taken further in the emphasis placed upon an active, unruly female sexuality which women have been taught might devour them. The first three stories, 'The Bloody Chamber', 'The Courtship of Mr Lyon' and 'The Tiger's Bride', are cat family narratives where, as Merja Makinen (1992) argues, the wild felines signify 'the sensual desires that women need to acknowledge within themselves' (p. 11). The last three stories in the book are wolf family stories, concemed with a more unruly, animalistic sexuality.
But, as Elizabeth MacAndrews (1979) points out, it eventually came tobe concemed, as in Hoffmann's story 'The Doubles', with two identities that are not separated halves of one personality but two quite separate people (p. 210). Following Hoffmann's legacy, Carter's novels employ the 'double' in her fiction as separate people, but in ways that also betray the influence of Dostoevsky, according to Peter Conradi (1988}, 'the greatest writer to have addressed hirnself so wholeheartedly to the theme of the "double"' (p.
Angela Carter by Linden Peach (auth.)