One night, Melanie walks through the garden in her mother's wedding dress. The next morning the world is shattered and she's forced to leave her childhood home. She is sent to London to live with relatives she has never met. There, she meets Aunt Margaret, beautiful and speechless; and brooding Uncle Philip, who loves only the life-sized wooden puppets he creates in his toyshop...
One night, Melanie walks through the garden in her mother's wedding dress. The next morning the world is shattered and she's forced to leave her childhood home. She is sent to London to live with relatives she has never met. There, she meets Aunt Margaret, beautiful and speechless; and brooding Uncle Philip, who loves only the life-sized wooden puppets he creates in his toyshop.
作者简介
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Born Angela Olive Stalker in Eastbourne, in 1940, Carter was evacuated as a child to live in Yorkshire with her maternal grandmother. As a teenager she battled anorexia. She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature.
Born Angela Olive Stalker in Eastbourne, in 1940, Carter was evacuated as a child to live in Yorkshire with her maternal grandmother. As a teenager she battled anorexia. She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature.
She married twice, first in 1960 to Paul Carter. They divorced after twelve years. In 1969 Angela Carter used the proceeds of her Somerset Maugham Award to leave her husband and relocate for two years to Tokyo, Japan, where she claims in Nothing Sacred (1982) that she "learnt what it is to be a woman and became radicalised." She wrote about her experiences there in articles for New Society and a collection of short stories, Fireworks: Nine Profane Pieces (1974), and evidence of her experiences in Japan can also be seen in The Infernal Desire Machines of Doctor Hoffman (1972). She was there at the same time as Roland Barthes, who published his experiences in Empire of Signs (1970).
She then explored the United States, Asia, and Europe, helped by her fluency in French and German. She spent much of the late 1970s and 1980s as a writer in residence at universities, including the University of Sheffield, Brown University, the University of Adelaide, and the University of East Anglia. In 1977 Carter married Mark Pearce, with whom she had one son.
As well as being a prolific writer of fiction, Carter contributed many articles to The Guardian, The Independent and New Statesman, collected in Shaking a Leg. She adapted a number of her short stories for radio and wrote two original radio dramas on Richard Dadd and Ronald Firbank. Two of her fictions have been adapted for the silver screen: The Company of Wolves (1984) and The Magic Toyshop (1987). She was actively involved in both film adaptations, her screenplays are published in the collected dramatic writings, The Curious Room, together with her radio scripts, a libretto for an opera of Virginia Wolf's Orlando, an unproduced screenplay entitled The Christchurch Murders (based on the same true story as Peter Jackson's Heavenly Creatures) and other works. These neglected works, as well as her controversial television documentary, The Holy Family Album, are discussed in Charlotte Crofts' book, Anagrams of Desire (2003).
At the time of her death, Carter was embarking on a sequel to Charlotte Brontë's Jane Eyre based on the later life of Jane's stepdaughter, Adèle Varens. However, only a synopsis survives.
Her novel Nights at the Circus won the 1984 James Tait Black Memorial Prize for literature.
Angela Carter died aged 51 in 1992 at her home in London after developing lung cancer. Her obituary published in The Observer said, "She was the opposite of parochial. Nothing, for her, was outside the pale: she wanted to know about everything and everyone, and every place and every word. She relished life and language hugely, and reveled in the diverse."
唯雅歌
南京大学出版社2019版
炎さま
南京大学出版社2019版
0 有用 [已注销] 2013-03-18
女人的命运总是被男人掌控啊，不管自己有多少主意和感受，结局都掌握在男人手里。。
0 有用 寺青 2011-11-30
虽说我还是非常能理解弥漫在整个故事中的那股彻头彻尾的绝望的，但这个结尾doesn't make sense啊！！！Carter的深度恋物癖让每个物件都成为了非常抽象的symbol，人物塑造也说得过去，但是情节很狗血好么＝＝！
0 有用 清明梦 2015-02-01
此作者走的是女巫风
0 有用 Natalia 2017-10-01
The future can be a wild surmise.
0 有用 ethan 2014-12-03
是的，你可以把她解读为女权宣言。但我还是不喜欢敏感的青春期少女。
0 有用 Natalia 2017-10-01
The future can be a wild surmise.
0 有用 清明梦 2015-02-01
此作者走的是女巫风
0 有用 ethan 2014-12-03
是的，你可以把她解读为女权宣言。但我还是不喜欢敏感的青春期少女。
0 有用 [已注销] 2013-03-18
女人的命运总是被男人掌控啊，不管自己有多少主意和感受，结局都掌握在男人手里。。
0 有用 寺青 2011-11-30
虽说我还是非常能理解弥漫在整个故事中的那股彻头彻尾的绝望的，但这个结尾doesn't make sense啊！！！Carter的深度恋物癖让每个物件都成为了非常抽象的symbol，人物塑造也说得过去，但是情节很狗血好么＝＝！