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“... In British university English departments there are currently more theses being written about Angela Carter (d. 1991) than about the 18th century. The relative status of Pound and Auden, two and a bit decades after their deaths, is testified to by two recent volumes of essays. Sons of Ezra is an excellent collection, not least because all the pieces ...”

“... different man. This was a pattern she repeated until late middle age. Then she made do on her own. Angela Carter said of Lulu’s men: ‘Desire does not so much transcend its object as ignore it completely in favour of a fantastic recreation of it.’ Given Olivier’s declarations of frigidity and disgust, it’s odd that so many men wanted to fuck ...”

“... reputations grow more impossible, and fragile, and large.’ Enright was once taught writing by Angela Carter at the University of East Anglia, and there’s something of Carter’s sensual, self-fashioning adventuresses in Eliza. The novel keeps edging towards the magical realism which ...”

“... done with Willy at her shoulder; she had an ‘uncompromising zeal for self-exploitation’, as Angela Carter once said). Could it be that Colette was actually censored from Aberdeen District Libraries in the 1970s? We should have been doing her for French O Grade. We could have learned so much it would have been so good to know.‘Like having my skull ...”

“... gang whose members raped a woman in front of her disabled son. They then shot the child dead. Once Angela Carter came to read at Queen’s and arranged to meet some local feminists at the flat I shared close to the university. (Our living room smelled of paraffin because we had recently spent a day putting firelighters in tins to make torches for a ...”

“... Forgot’. The 1970s, Savage wrote, had been ‘all content and no style’. Yet ten years earlier Angela Carter had concluded the opposite: the 1970s, she wrote in the Sunday Times, were an age ‘to do with pure style, with doing yourself up … This could only have happened … when certain rules and conventions of appearance [were] relaxed.’ This ...”

“... course), John Berger, Christine Brooke-Rose, Brigid Brophy, Anthony Burgess, Alan Burns, Angela Carter, Eva Figes, Giles Gordon, Wilson Harris, Rayner Heppenstall, even hasty, muddled Robert Nye, Ann Quin, Penelope Shuttle, Alan Sillitoe (for his last book only. Raw Material indeed), Stefan Themerson, and (coming) John Wheway (stand by): and if ...”

“... agenda to the fragility of romance … I’m not big on women looking naive.’ We need you, Angela Carter! We need your help! Carter thoroughly upset the bien pensants with her essay The Sadeian Woman (1978) where she argued that Sade ‘was unusual in his period for claiming rights of free sexuality for women ...”

“... insouciance that might well lift the spirits of her less stalwart readers. Much influenced by Angela Carter (Sexing the cherry bears a close relation to Nights at the Circus), Winterson gives us a woman who breaks the rules on a monstrous scale. The Dog-Woman is as earthy as her son is dreamy. But she, too, is looking for magic, and believes in ...”

“... out to grasp the astonishing unknown, does make a kind of sense for contemporary readers. As Angela Carter writes of her magus hero in ‘The Curious Room’, ‘He truly believed that nothing was unknowable. That is what makes him modern.’ Some of the tales are also concerned with falsehood, their author taking the part of a wise fool. Several of ...”

“... within were crossed and re-crossed by many of the novelists he most admires, including the three (Angela Carter, William Golding and Angus Wilson) to whose memory his book is dedicated. The result is a history of the modern novel in which the coincidence of the mainstream and the canon are taken for granted. D.J. Taylor also confines a his attentions to ...”

“... have to live. Haffenden, it transpires, must be working part-time for an estate agent. Angela Carter, we thus learn, lives in ‘a rumpled terrace house to the north of Clapham in London’, whereas Iris Murdoch, when she’s writing, chooses to make do with a ‘compact top-floor pied-à-terre’. V.S. Pritchett is encountered in ‘a ...”

“... offered in this collection I find that mixture of talents, all in a high degree, which prompted Angela Carter (LRB, 16 September 1982) to insist on Stead’s ‘greatness’, but which also explain the widespread uncertainty about what is centrally and typically ‘Stead’. There is her fascination with language, at times almost for its own ...”

“... and Carroll and Eliot, then on to Kate Atkinson and Margaret Atwood and the too often invoked Angela Carter (whose clever mock fairy tales can seem to fit too snugly inside interpretation, as if they were written with it in mind). Novels are readings of their culture, as widely divergent as their authors’ visions and temperaments. Reading teaches ...”

“... know I am very ugly, but I try to forget it. I play at being this beautiful young girl.’ When Angela Carter reworked the myth of Helen of Troy in Nights at the Circus, she showed a similar relish for self-fashioning: her heroine, Fevvers, a huge, ambiguous giant (‘six feet two in her stockinged feet and turned the scale at 14 English ...”