By Linden Peach (auth.)
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Extra info for Angela Carter
They also occur in nineteenth-century novels such as Dr Jekyll and Mr Hyde, with which Carter was of course also familiar. In Shadow Dance, the character most obviously regarded as a part-object by another character is Ghislaine. Before she is disfigured by Honeybuzzard, Morris sees Ghislaine as an idealised phantasy: 'She used to look like the sort of young girl one cannot imagine sitting on the lavatory or shaving her armpits or picking her nose' (p. 2). After the disfigurement, he projects into her his guilt and horror at what Honeybuzzard has done.
There are pointed similarities between characters in different novels, as, for example, between Mrs Boulder in Several Perceptions and Fevvers in Nights at the Circus or between Desiderio in The Infernal Desire Machines of Doctor Hoffman (1972) and Walser in Nights at the Circus. Carter employs similar seenarios in different contexts such Introduction 23 as the psychiatrist-client interview between Joseph and Ransome in Several Perceptions which occurs again between Lee and Annabel's doctor in Love.
22). O'Day's main argument for seeing these three novels as a trilogy is that each is a fictional mediation of aspects of the area of Bristol in which Carter lived: the auction room, junk shop and derelict houses in Shadow Dance; a bedsit, a large mansion and the Downs in Several Perceptions; and a two-room flat, the park and (Mecca) ballroom in Love. More significantly, the trilogy presents us with an imaginative response to provincial bohemian life as it happened at the time in bedsits, flats, cafes and coffee bars where somehow the 26 Euro-American Gothic and the 1960s 27 boundaries between art and life became blurred.
Angela Carter by Linden Peach (auth.)