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“... Her name is Emilia, she lives in Edgware and eats everything Earnestly.’ The words are by Angela Carter. It is a cute joke, a book to go with the pretty china on the dresser. So one is almost too grateful to turn to John Yeoman’s and Quentin Blake’s The Wild Washerwomen, and should say at once that the drawings show no astounding virtuosity ...”

“... the Sixties (she was ten at their start). Yet she endorses with gusto the boast of her contributor Angela Carter that towards the end of the decade ‘there was a brief period of public philosophical awareness that occurs only very occasionally in human history ... when all that was holy was in the process of being profaned, and we were attempting to ...”

“... envelope that absorbs the world. In The Passion of New Eve, a fantasy of late-Seventies America, Angela Carter’s androgynous protagonist describes a room like this: Soft clouds of dust rose from the yellowed pelts of polar bears flung on the floor and their mummified heads roared mutely at us in balked fury. The walls of this long, low, serpentine ...”

“... Greer of The Female Eunuch confronted misogyny with the reflection of its own face in the mirror; Angela Carter practised the selective lighting, nonchalant hyperbole and parodic enhancement developed by fabulists such as Margaret Cavendish in The Blazing World, or, if you prefer, by Swift and Voltaire. In some of her most pointed exposés, ...”

“... commends Henry James, discusses some ‘splendid stuff’ from Tom Wolfe and starts a chapter with Angela Carter on rooms by the hour in Japan. If this is social science, it is in style and scope not social science as we have come to know it. As we have come to know it, this science has, in its more principled moments, consisted either in attempts to show ...”

“... Weight set odd encounters that could have come from stories by Pritchett or Coppard – or even Angela Carter. The exhibition gets its focus from being built round Perry’s experience of art. His fondness for things as they were when he first came into contact with them feeds back into his own work. He appears on the cover of the catalogue in a ...”

“... The British edition of Gerald’s Party, Coover’s latest novel, comes larded with tributes from Angela Carter and Malcolm Bradbury, both of whom insist on its canonical status. Coover is ‘a master’, says Carter, and according to Bradbury he is ‘one of the great innovative writers of the United States’. At ...”

“... taken for granted. ‘The Husband Stitch’, the first story and one of the most striking, treats Angela Carter in a similar way, using her work as a table on which to display new plates. Carter’s subversions of the canon (above all the fairy stories shapeshifted in The Bloody Chamber) have themselves become ...”

“... tunnels, leaving me unsure on which side of the Thames we now found ourselves, I thought about Angela Carter. And the opening of her 1991 novel Wise Children: ‘Two cities divided by a river.’ Where Thatcher was an absence, and more than an absence, a negation, an assault on the notion of organic society, ...”

“... Heavenly Creatures. It is one of the few things Bainbridge had in common with her contemporary Angela Carter, who in the 1980s wrote a screenplay about the murder. An early version of Bainbridge’s novel was turned down by several publishers, mainly because the heroines were such ‘repulsive little creatures’. It looks explosive in a different way ...”

“... at the finish. Shape gives his books the narrative nonchalance that distinguishes the work of Angela Carter, all those gins and powders and game old boilers. Fabulous bawdy. But there is none of Carter’s subversion, the dangerous sense that the narrative, if you don’t keep your wits about you, will carry you ...”

“... of noir, vampires, Hitchcock and spaghetti westerns, has never lost that boyish enthusiasm that Angela Carter catches in ‘The Lady in the House of Love’: they knew each other in Bristol, and she drew on the young Frayling, he recently revealed, for the character of the English public schoolboy who, on a bicycle tour of Transylvania, meets the ...”

“... as a ‘development’. And there’s nothing more fruitful than a timely mutation. The late Angela Carter once told me I was a ‘formalist’. We didn’t meet often, and this may have been the first time we did, in which case it was at a party. It had slipped my mind that I don’t smoke, and I cadged a cigarette off her in exchange for reciting ...”

“... in history, allowing them a proper dignity, yet ensuring that they remain physically anonymous. Angela Carter comes nearest of all to easy affection and one accepts her independent and eccentric father, to whom she refers as ‘the old man’, as recognisable, possibly because she has written about him so well before or possibly because he might have ...”

“... about the transition from innocence to experience. There are Márquez-like dynastic intrigues, and Angela Carter-esque tropes of pantomime and performance. Another influence is Carl Hiaasen, the de facto laureate of the Everglades. Hiaasen has kind words for Swamplandia!, which is reminiscent of Native Tongue, his hard-boiled eco-thriller set in the ...”