MSW Book Recommendations #50 ; Sisters in Spirits, Or; 'I see you been playin w. lego's too...'

- Or, Carter's seductions plus Hoffman's composes, respectively...

“Ambassador: Dr Hoffman is coming to storm the ideological castle of which at present, my dear Minister, you are the king.

(This was a minor preliminary sortie. He fluttered his darkened lashes at us and tinkled with diminutive laughter.)

Minister: He has made his intentions in that direction abundantly clear. As far as we can tell, he opened hostilities perhaps three years ago and by now there are no directions left in the city while the clocks no longer answer to the time.

Ambassador: Yes, indeed! The Doctor has liberated the streets from the tyranny of directions and now they can go anywhere they please. He also set the timepiece free so that now they are authentical pieces of time and can tell everybody whatever time they like. I am especially happy for the clocks. They used to have such innocent faces. They had the water-melon munching, opaquely eyed visages of slaves and the Doctor has already proved himself a horological Abraham Lincoln. Now he will liberate you all, Minister.

Minister : But ought the roads to rule the city?

Ambassador : Don't you think we should give them a crack at the whip now and then? Poor things, forever oriented by the insensitive feet of those who trampled them. Time and space have their own properties, Minister, and these, perhaps, have more value than you customarily allow them. Time and space are the very guts of nature and so, naturally, they undulate in the manner of intestines. [...]” (; Carter, from The Infernal Desires Machines... ; p. 32-33.)

“Then they came to a place where there were no more roads.” (; Carter), from ' Master', (at short-story coll.; Fireworks: Nine Profane Pieces, f.p. 1974.)

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The RECOMS:

The Infernal Desire Machines of Doctor Hoffman (novel)

by Angela Carter (1940-1992)

(1972), Penguin repr. -94; 221 p.

Mademoiselle de Scudéri. A tale of the Times of Louis XIV. (short-story/ novella)

by E.T.A. Hoffman (1776-1822)

(Hesperus 2002 ; Orig. published 1819) ; 85 p.

; Recommendations III / 2016

; Seems I now had to 'flee' of my earlier decision not to represent any more British authors on these selections. Guess' the (decision) reverted and canceled for this particular chapters part, won't much undermine our further prospected reviews on fiction. Having (relative) recent read somewhat Angela Carter-stories I considered this novel a most proper selection here. (Though, here referred several other examples from her prose, actually any would've quite well made selected example. A funny thing to mention, that I've not read most any her books as translations, since I didn't need to. 'Suppose them likely would've lost somewhat much translated from original language.) ; Not forgetting also E.T.A. Hoffman selected for this chapter, accompanying. ; And to mention, to any 'peculiar' or sophisticated terms I've tried provide the explanations/descriptions on.

 But (originally) this, our celebratory chapter no 50, was meant devoted on Denis Diderot (1713-84). ...Who was amongst some of most central figures from the (late) 1700s Encyclopedists, and important character cons. that periods philosophic thought, the Enlightenment -movement in general, cons. the cultures and social of (that) time.

...Of the Reasons making him that interesting, or worth the selection by his own, merely is that Diderot fx seems described from from having possessed and maintained, many ways, more of a modern flexibility at his views, an' thinkin. (At least in comparison from majority of usual noted, and perhaps more renown, his contemporaries - Rousseau, Voltaire, first come for mind, of course. ...Suppose', if I had to say, the Voltaire's influence on Diderot maybe also was more significant. (Diderot's best renown work, though, frmo editing that Great Encyclopedia.)

; Interesting qualities on Diderot (esp.), also are fx that he seems said taken the philosophical questioning farthest among those renown late 1700s philosophers (Though sceptical thought having had it's origins from longer pasts, in both antique and 'modern' philosophy.). Also, while not perhaps quite as similar talent of his written fiction than fx Rousseau, he certainly influenced lot to the philosophical thought of his era. Fx, ao. some Diderot's philosophical essays contemplate on the arbitrarity of the senses and on certain physical impairements, ie seem take under observation how superficial by then prevailed/usual views of some biological traits, such as sight (blindness), and hearing (deaf-mutedness) actually were. By his times concepts and morals, like can be guessed, belief to such impairments of to be unchangeable and permanent was lot more stronger than fx on present, some medical 'miracles' and 'inventions' reached every other day. (...Actually, cons. the hearing/deaf-muted – I think, I recall that was from – a development and carried surgical operation then after a fewsome years proved right the Diderot's claims, or the argument he had made on that. - The texts, namely the 'Lettre sur les aveugles à l'usage de ceux qui voient', from 1749, and 'Lettre sur les sourds et muets.' , 1751.)

; ...As well, Diderot's said from had rather early developed suppositions/views about Nature, resembling for what later emerged to be known as evolutionary theory. (Diderot's formulations were purely on conceptual levels, though. Originated to/from basis of then emerged knowledge from found fossils unlike to any existed animals and other (random) excavated find. (Nor did he develop it for any specifically 'structured' Natural historical views - iow, not for anything similar to Darwin.)

Also is notable that, apart many Diderot's philosophical writings (and that vast scope of writings on Encyclopedia itself, some 1000 separate entries by his), relative few from his other works saw publication during his life. Fx most of the 'fiction' written by him wasn't censored by press of the time, but he actually rejected publicising it, some simply due from that might've represented too risky undertaking at the circumstances of the period. So fx some postward most appreciated novels by Diderot's writing – La Religíeuse (p. 1796, but written around 1780), and Jacques le Fataliste et son maitre (p. 1793) were both left somewhat unfinished during his life-time. However the novels still make quite interesting reads. 

; Fx, that La Relígieuse is a strong description about what the extremes still at the 1700s prevailed (distorted) “religiousness” permitted and did maintain. Merely that about how the prevailed state-religion, could fx by the laws-binding system condemn the younger daughter's of families (w. the limited stature or wealth) for Monasteries, by the oath sworn for life. (Commonly, often while them still underaged. Occasionally the terms were not that strict or the conditions appeared bit more negotiable, but the fact was that subjects to this practice had no say in the process. Pretty much in manner the underaged presently are not considered liable from not to have any control over the(ir) property, sex/marriage-questions, any juridiscal decisions or choices.) ...Which actually the main theme on novel. Diderot's 'blasphemies' directed on sex and religion also seem the apparent reasons for it not was published during his life-times. (In spite from that book not contains anything exactly pornographic or even sexually disturbing.)

...Suffices at least to (somewhat) from explain the reasons from Diderot's decision of to favor the absolute atheism, as a principle, or in his thought. And along that opposing, ao from described reasons, extremes of an orthodox Catholism. (Or say, it's most dominative practices, in essence/practice was the same for official state-religiousness on his times.) In fact, that choice (of atheism) was by the time far more daring an attitude, even if from level of adapted 'methodology' at philosophy. – Notice; I'm not saying so from any atheistic conviction, 'cause actually, practically, nothing could be more distant of my own principles. But feels to me, Diderot's decision on atheism would've been almost unavoidable to him. (One can, if wish, compare that to our own ages, where everything is quite more firmly and 'favorably' rooted at the decided profanity. During the 1700s it still was in real sense more daring a choice, even if held mostly by among the fewsome from intelligentsia, or within intellect elités.). Scepticism as an 'attitude' too, is nowadays more of a 'regular principe' held, and some 'inherited belief', nowadays (on society) backed by our traditions rooted at development of the biology and natural sciences. Resultantly people at least unconsciously also are less assured of any 'Divine causes'. (Often, or even more commonly when they'd say so, even.)

...To explain further/more precise, I guess, more comparable decisions (on Diderot's 'principal atheism'), by nowadays, would fx be from deciding not of buy any stuffs from markets, etc., and instead manufacture/cultivate one's needs by yourself. More comparable – as any life's principle – to Diderot's 'committed' atheism than any present days modern atheism, I mean. There are people who live that manner described I know (I don't, though.), even if it being rare by our times, these corners.

...More generally it's pretty much a question of a choice btw the principal individualism and social custom(s). Decisions very much similar to the essential questions, or some w. major importance, at that late 1700s period of Enlightenment-thought. ; And I also think that one of the great benefits – some blessings having come down to our days from the said century's "struggle of minds" (/'souls' if you rather prefer that term),  – is that you don't anymore feel obliged to choose, all in all. (Hell burns in flames just as apparent here at the surface than at anywhere 'in the deeps', or, alternatively high there, somewhere.) 'Cause choices are transmitted, these days, basically from within the 'mothers milk', no way out of the choices – actually not via ones own deciding, even. But, quite as well, it's sometimes at least very relieving from to know that you don't have to bear all the crap – In this life can quite as well leave out all the burdens. I mean, of course these aspects referred were centuries ago. In spite of that, one can at least sometimes wonder whether (or by which manner) would've it been from the modern progresses – of culture, morals, social customs, democracy, tolerance - without the great 'opposing thought' by the Enlightenment. 

; Furthermore, I think these aspects also have at least little resemblance to fx that from Carter by subtitling her earliest short-stories (more on those a few paragraphs after...) for 'Nine profane pieces'. Black is white, white is black – such as they say. (If we want some modern consecrations let's at least call them w. the proper adjective.) If you really want some worship, then be sure to give it a little 'whip' too...cause worship inevitably leads for some order. (The order leads for hierarchies.) ...Albeit, I mean not say more on that.

; ...Anyway, despite that this said book (La Religieuse) not saw it's publication during Diderot's life-times, (larger) parts seem circulated among his 'enlightened' companions. And, as well the 'high elite' was followin', even if merely secretly or at least not anyhow 'openly'. (Fx some such enlightened monarchs included Catherine the 2^nd, of Russia, etc...) – Namely, them read chapters from it via the Grimm's (Baron Friedrich Melchior von Grimm, 1723-1807) edited Correspondance littéraire (The 'magazine' had other contributors too, though. It said consisted '...of two letters a month that were painstakingly copied in manuscript by amanuenses safely apart from the French censor...'). ; ...Of Grimm's adopted views seem it said his thought to been on '...religious and philosophical opinions...entirely skeptical.' (; as on that on a Wikip.-entry) ...Grimm an 'art critic and journalist' – he also did contribute to the Encyclopédie by rather early from time – but it said that journal (apparently) was Grimm's main channel. From it's content seem noted that in time his witty remarks enlarged for wider topics like 'political, artistic, social and religious' issues. However, even cons. the scope of the said topics from his journal, the overall description of the man don't give that positive impression, apparently. (...means some other 'dealings' – Probably irrelevant to this, see of preced. wikip-link.) He's also said from introduced Mozart-family (Leopold Mozart, the father of Amadeus) on Versailles' court, etc. But, in brief, leaves that an impression kind of a, sort from, some 'Diplo(mathi)docus' of his times...maybe.

; ...By the way, alongside for these notes happened read a few love letters by Rousseau's writing. (Not too attentively, but alongside.) And what an uncomparable skill and sophistication his sentences/words at those seemed from express! Indeed, what the mastery of language and everything. (Didn't change my any favoring on most about Rousseau's thought, but made me think there maybe certain truth say Diderot from possessed qualities from '...broader in his interests, [and, having had more] critical insight, ... [of not] enclouded by envy and spite.' (Tancock, preface on that La Religieuse., 1972 ed.) ...Even that any such cultivated appreciatives and 'hazy' adjectives maybe usually only misleading, merely confusing to any reliable view. ; ...But, soforth, only this much on Diderot was considered possible. – That so 'cause I then also noted the obvious limitations on my French, to the main impediment of better familiarizing on him. (Perhaps we'll have a chance on Diderot discussed more in particular on some place postward from this...)

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“[...] There is no room in Sade's impeccable logic for the well-upholstered wishful thinking that would like the poor to have more money if that did not mean we ourselves had less. To be a woman is to be automatically at a disadvantage in a man's world, just like being poor, but to be a woman is a more easily remedied condition. If she abandons the praxis of feminity, then it is easy enough to enter the class of the rich, the men, provided that one enters it on terms of that class. …'It was no accident that the Marquis de Sade chose heroines and not heroes,' said Guillaume Apollinaire.” (Carter) ; from Sadeian woman. Exercise in cultural history. (; p. 89-90.) Virago 1979.

; My observations on Carter mainly aim be/stay at limits from what on following presented various quotes – Any likely limitless and voluminous researchful material on her fictions is not visited – just as I thought better keep this to some minim. ...See, I'm quite aware that Carter, '...maybe the most widely read author on Briton universities, by the turn of the century' (As some bio, I did glance, seemed note) - must also belong to some most carefully studied writer by her generation. ; Furthermore, don't expect me of say anything at this (on this novel in the recom) to some postmodernist-fiction. Practically of the similar reasons, I've not any sincere trust on that term either – besides, seems it out of fashion by some time, now.

Due not had read too many from her any other novels either, this mostly is gathered/devotes particular look mainly to her various short-stories. Mostly works written during her intensive/perhaps best renown period of writing, and published at compilations about btw -74 to -94. Rushdie's forewords at complete collected short-stories (by y. -95, named 'Burning Your Boats') seem note the short-stories for Carter's most successful works, perhaps for in the long-run to some most lasting. Maybe it indeed so, or maybe not quite. At least her uses of language - or style in general – gains it's best effects at those shorter pieces. ...Although, in the same, must be said, I also consider perhaps to some main work that cultural exploration/examination on Sade's writings (Sadeian Woman. Excercise in cultural history, p.1979.)

'Pure reason, applied to motion' ; ...Anyway, fx, I think that on all from her fiction - and not solely on the latter-day novels, such as Nights at the Circus (1984) or Wise Children (1991) – a more traditional narrative elements often prevail. (Albeit, I've not read those said novels, while them seem on the times from publication been popularly and intensively awaited, probably later lot studied too.)

; However, by any preferences, personally I've fx found a lots from enchantment on the strong element of the Nature at Carter's 'tales'. It is very continuously present on her written fiction. - Or on at least on most from the shorter stories. Yet, it's not usually, the very organic Natures, a priori. (...In other words, not usually there very realistic descriptions from, but the Nature often is felt very tangible and from very much alive at many her text.  I-o-w, not any landscapes and impressions about places set represent only/merely to some decorative framings.) And (to my finding) also seems it tell, perhaps, from her own experienced impressions about. ...But actually, I know not a better story for some example, than (these few lines from) a short-story by it's name 'The Erl King'; 

”His eyes are quite green, as if from too much looking at the wood. 

There are some eyes can eat you.

The Erl-King lives by himself all alone in the heart of the wood in a house which has only the one room. His house is made of sticks and stones and has grown a pelt of yellow lichen. Grass and weeds grow in the mossy roof. He chops fallen branches for his fire and draws his water from the streams in a tin pail.“(at collection Bloody Chamber , f. p. 1979.)

'...Eyes quite green' of 'too much looking at the wood.' ...It really feels from say smgth profound on the Natures essence, and there really is 'some eyes can eat you'. Of course all of it set aforth/depicted on rather romanticed manner, Nature serves merely to part of an emotional reflections, usually in close approximity to tensions by story's narrator. But (in it) the mystery of Nature isn't presented by means of separating the organic natures from story itself. Or, that aren't on any level secondary (in narration) from what is observed mainly in the story.

; ...To some other good examples there's fx the 'The Smile of Winter' (Where the sea appears form some background to a literary and contemplative self-reflections.) Or the story 'Penetrating to the heart of the Forest', sort of re-writing from paradise-myth w. it's original sexual-romantic thematics been intensified by an all prevailing realm of a (rain) forest, w. it's real and mythical proportions, ...fx; 

'...carefree children were their playfellows and their toys were birds, butterflies and flowers. …They quite forgot the dull town where they had been born. The green world took them for its own and they were fitting children of their foster mother... and, at night they slept together in plain, narrow bed on a floor of beaten earth while the window held the friendly nightlight of a soft, southern moon above them in a narrow frame.' (...etc. Both stories at -74 collection 'Fireworks. Nine profane pieces.')

; ...Probably the Carter's best known stories are mostly those some where myths appear similarly 'reworked' and therefore given recreative 'new blood'. Unavoidable from mention is that renown piece 'Bloody chamber', (of the year 1979, and w. the same name, 'Bloody Chamber and other stories') – perhaps the best known example of her vampyrian rewritings. (However, in the story itself there's not any supernatural incidents or it not by any other level mythologized, except the apparent references from story's likely origins. Torture chambers and decapitulations a'la Vlad Dracula and Elisabeth Batory, but only on imaginary level, without too much mystifications.) ...In short, nothing what in reality could not happen, takes place in spite of the very 'vampyrian' tensions of the setting and everything in combined. But then there's fx on Black Venus (-p. 84) 'The Lady of the House of Love' a story about an ageless vampire (queen) whom is visited by the young cyclist. Some officer ('volunteer' to oncoming war then), doing time, spending his leisures on '...exploring the little-known uplands of Romania.' The man also has '…chosen the most rational mode of transport in the world for his trip around the Carpathians.' And, is expressed '(to) Ride a bicycle is in itself some protection against superstitious fear, since the bicycle is the product of pure reason applied to motion.' Resultatively then that very decoratively painted myth is revealed (...for 'dusts') within the story, a story whose setting/timing from incidents couldn't represent more proper place or 'frames' for it, 'cause it begins at origins of our modern era, previous century killing fields of the 1^st World War. Pretty much (perhaps) w. impression on tales by that Hoffmann (see on followin), fx it has setting on castle, and there prevails a melancholic 'romantic mood'...Albeit, the story builds completely between that old vampyre and the (bicycling) 'protagonist'. ; ...Then, w. the more 'natural' themes again, by it's origins, there's fx 'Peter and the Wolf', sometimes said for the most realistic (and, from that reason also most scary) interpretation from the werewolf-myth. That so, from the 'wolf child' discovered in tale is depicted mostly from all animal-characteristics, ie story not reflects any usual (/the 'human-like') superhuman 'horrifications', typical for it's kind. (The collection of -79 also contains couple shorter stories built on werewolve-theme, them bit less naturalistic.)

; In Carter's latter comprised collections (maybe concerns last couple short-story books, the last issued post mortem.), the more realistic narration/topics become slight more common. (While not anyhow prevailing, on some stories.) On latter collections there also some stories whose main 'plot' seems built around cultural figures or 'icons' from the 'Victorian' past, such as Poe, Baudelaire - mainly of the 1800s, iow.. ; Then there is fx that detailed descriptive depiction from the final days of a Borden-family (ie on Lizzy Borden, 'The Fall River Axe Murders', on collection Black Venus) ...The afterward remarks seem also tell Carter of had planned some sort compilation around that subject, but only other story wrote during her life was the 'Lizzie's tiger', (that on last collection, p. 1993.) 

 

What typical to Carter's 'latter years' narrative/fiction, is it leave merely an impression of the historical and researched information 'carefully' written out offering plausible and almost 'non-fictional' interpretations to incidents described. Typical on fx that Axe River Murders-story, since it handles a story which had until that been popularised to part of a mythical horrorist imagination – ie, lot distanced from it's actual origin. ...Careful reader can't of course avoid from recognize, that ultimately it (Carter's 'interpretation') has to remain on level of fiction. Lizzie or her family as personnel, or characters by precise knowledge (we could assume from have) being unreachable. Yet, what makes it quite appalling a tale is exactly how logical Carter's descriptions from the cultural setting and the period (the Belle epoque, y. btw ca 1890-1914) are created from to offer the story it's (likely) backgrounds. Main view-point again that all is related by (relative) dispassionate way - And yet the 'special effects', sparingly used, via fictional language give it more credibility than some plain retelling the story would have. ...But I considered this to leave us some place for cite, even if only very shortly. This following from story's early part, where social background is - to my finding – nicely described; 

“Don't the gilded of the Fall River Line signify all the squandered luxury of the gilded age within their mahogany and chandeliered interiors? But don't they sail away from Fall River, to where, elsewhere, it is the Belle Epoque? […] The Indians who lived here first had the sense to take off their buckskins when hot weather came and sit up to their necks in ponds; not so the descendents of the industrious, self-mortifying saints who imported the protestant ethic wholesale into a country intended for siesta and are proud, proud! of flying in the face of nature. In most latitudes with summers like these, everything slows down.

… men will go out into the furnace wrapped up in flanel underclothes, linen shirts, vests and coats and trousers of sturdy woollen cloth, and they garotte themselves with necklaces too, they think it so virtuous to be uncomfortable.”

; ...Along w. the mentioning 'Our Lady of the Massacre', the better known(/my most favorites) of her short-stories seem now referred at this. Probably the said narrative inspired on basis of then (ie near that, seems wrote on 1980s) anthropological and historical studies on relations btw the native americans (indians) and early colonizers. An interesting aspect, perhaps, it been later discovered on statistics made of the captived persons, the whites more rarely from wished/purported on any escaping. (Not necessarily too difficult from believe, knowing the social hierarchies and inequalities of European societies and 'settlements' by the time.) That story too on coll. Of -84. ; ...And finally, bit similarly closer to any 'realistic' fiction – while not perhaps with any resemblance on it's historism (lacks that) - is then also the short-story built around Pabst (a German movie director, b/w, prior and war-time), the story named 'Merchant of Shadows' (at that -93 collection.)

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“Watch now, spectator. Before you is a fully wound machine. Slowly its spring will unwind the entire span of a human life. It is one of the most perfect machines devised by the infernal gods for the mathematical annihilation of a mortal.”  

(Cocteau), preface to 'The Infernal Machine', play. (Orig. p. 1934, of the vers. of 1958)

 

 'horological Abraham Lincoln' 

; Conserning the novel here (recommended), what at first comes for mind from followin' few paragraph feels it to rather typical dystopian kind fiction - on story's beginning. One at first notices, (that) there those 'wide spaces' depicted, visual descriptions loaded with the powerful (doomsday-) images evoked, surrounding city-blocks and then (there) are some 'unreal objects' – Such as, on this quoted paragraph below, are the (imagined, 'spelled') 'monstrous birds'. (With some 'odd' behaviours and features that also are integral to descriptions about that 'macabre landscape');

 “The sense of space was powerfully affected… Often in the vaulted architraves of railway stations, women in state of pearly, heroic nudity, their hair elaborately coiffed in the stately chignons of the fin de siecle, might be seen parading beneath their parasols as serenely as if they had been in the Bois de Boulogne, pausing now and then to stroke, with the judiciously appraising touch of owners of racehorses, the side streaming engines which did not run any more. And the very birds of the air seemed possessed by devils. Some grew to the size and acquired the temperament of winged jaguars. Fanged sparrows plucked out the eyes of little children. Snarling flocks of starlings swooped down upon some starving wretch picking over a mess of dreams and refuse in a gutter and tore what remained of his flesh from his bones. The pigeons lolloped from illusory pediment to window-ledge like volatile, feathered madmen, chattering vile rhymes and laughing in hoarse, throat voices, or perched upon chimney stacks shouting quatations from Hegel. But often, in actual mid-air, the birds would forget the techniques and mechanics of the very act of flight and then they fell down, so that every morning dead birds lay in drifts on the pavements like autumn leaves or brown wind-blown snow. Sometimes the river ran backwards...” ; ('The Infernal Desire Machines...' ; p.19-20.)

It seems difficult decide whether we /the readers) should feel more horror on these images of terror and violence, or of how all that appears yet shown/reflected only for some passing incident, The 'racehorses still runnin', 'pigeons lolloping'....And yet the birds are also noted just as mortal and powerless as the people seem be amongst that massive collapse on society – it said fx the birds from sometimes 'lay in drifts at pavement'. And, is the real horror, we migh feel of those passages, from the said/described Hegelian-architecture collapsin...?

; Anyway, the impression by (the) utopian/dystopian elements is very apparent 1970s from it's 'tone'/impression it leaves from. There are characteristics in description which seem owe, at least something, for Orwellian world(s). Was rather popular and usual source during the decade, of course. (Actually, from the level of 'atmosphere', perhaps also by setting, I  think, there some resemblance fx for Alan Moore's V for Vendetta-story. That 1980s graphic-novel, w. some features/elements borrowed of that historic Guy Fawkes-plot. Or, at least the movie has that for story plot. The apparent references for totalitarism (fascism acc. Moore, I think it read) also contain some similarity – Even that on Carter's description all that merely remains to some 'decorative elements'.) ; Resemblance for several other 1970s art works, too. And, for the (then) existent real events and horrifications, quite as much: Fx, cons. the year of novels creation/publication and the above quated paragraphs, on the collapsing societies - Seems it possible from trace for the typical horrors of a post-nuclear age(/wars) - quite directly. And - maybe only undirectly – for several nearby events, like fx the Biafran- and Vietnam-wars, fresh in the memory still then (or, just 'beyond the last corner'). Not long after...the oil-crisis soon were been seen, the 1980s (w. it's wars and crises) just around 'the next corner' – But those associations only by some imaginable level at this.

; In spite of that (the said elements/descriptions) Carter's fiction seem almost without exceptions exist on the level from fantastic, and there's not (ever) any (visible) critique from fx of then prevailed politics, or smght like the post-colonialism, etc. In short, she seems on most her fictions more interested from technique by established, 'traditional' (often white, male), narratives by literature. Seductive and authoritative narratives, it's most typical – but sometimes often, hidden – features. And there seems, most often, at her writing used various means and solutions of to break those established 'normatives'. Various solutions used, actually. (For example, – but let's not go too deep on that, would need further more precise look.)

; ...But further from - (soon) after that what quoted on above – all that carefully built construction as backgrounds for the enjoyable scifistic-/utopian fictions is then abrupt swept aside, unexpectably and sudden. Narration takes it's own turns, and for complete different directions...No easy solutions or neat slow floating within the story's development, reader not permitted to relax by being carried neatly away with any 'dream-like' romantic or exiting, 'prophesied' and nerves-thrilling futuristic plot. Not any such common-place and fictional 'baits' to the reader of some 'dystopian fictions'. Not any camouflages - As from the very begins of it story here is offered only to some sidedish. The main dish is elsewhere, you find out yourself (seems it say.) ; In brief, she seems practically not interested on any manner of technique or means by how fiction might imitate, how it traditionally has tended depict the reality. Actually, she maybe is/feels mainly interested what are the main “questions” or roots of any fictionalisation: Why the form once was more important to narratives. And why, exactly how, these forms did develop – within time. How the Time and Space from begins did become constructed (to some literature form). And from hence that, also books fragmented narrative. Even the time runnin' backwards (Of what the river, on a quote above, to some emblem from.)

; ...But since my scifistic interests were bit awoked, I then fx viewed some parts of Margaret Atwoods collected essays (In Other Worlds. SF and the Human Imagination, p. 2011), for gather some idea whether I'd figure some other view-points to Carter's stories (/novels), mainly as some form of a science-fiction. ...Yet, as far as I was able to consider any ideas relevant to this (view-points on Carter's novel), decided us here to limit that on followin' views – Them cons. the earliest roots of the 'genre'; 

“In both 'Scientific romance' and 'science fiction,' the scientific element is merely an adjective; the nouns are 'romance' and 'fiction'- In respect to Wells, 'romance' is more helpful than 'fiction'.

'Romance,' in today's general usage, is what happens on Valentine's Day. As a literary term it has slipped in rank somewhat ...but it was otherwise understood in the nineteenth century when it was used in opposition to the term novel. The novel dealt with known social life, but a romance could deal with the long ago and the far away. It also allowed much more latitude in terms of plot. In a romance, event follows exciting event at a breakneck pace. As a rule, this has caused the romance to be viewed by the high literati – those bent more on instruction than on delight – as escapist and vulgar, a judgment that goes back at least two thousand years.

…

In the sinister portions of a romance, the protagonist is often imprisoned or trapped, or lost in a labyrinth or maze, or in a forest that serves the same purpose. Boundaries between the normal levels of life dissolve: vegetable becomes animal, animal becomes quasi-human, human descends to animal. If the lead character is female, an attempt will made on her virtue, which she manages miracuously to preserve. A rescue, however improbable, restores the protagonist to his or her previous life and reunites him or her with loved ones. ...” (On 'Ten ways of looking at The Island of Dr Moreau by H.G.Wells'.; p. 157-8.)

; ...So, if we should think the novel ('Dr Hoffman's...') to any 'dystopian effort', it only seems so in the limits by showing where lie, perhaps, some main weaknesses of scifistic form. (More in general the possibilities by fiction from to describe anything from the actual reality.) – At least where fiction seen as 'imitation', by any cases – to it's writers or readers. ...That also what the usual dystopian-efforts quite as much does – Tries from invent or 'create' some, albeit purely imagined, possibile realities to what (presently) seen as necessities from the on-coming, the 'futures'. Then is some similarities to that old/'preceded form' by fiction (romance), fx, at books imaginous, adventurist later chapters (fx the cannibal coasts, sailing on w. pirates at seas), the plot following some 'breakneck pace', and also on mystifications it contains at it's theme. (Fx, in some early chapters there are some sacred 'religious objects'. By no coincidence, the objects represented are accompanied by adverted sexual seductive languages.) - 'Consecrated' objects, traceable to our 'modernity', might be also seen from representatives to our present very televisioned experience on/from life. Though it from 1970s, quite early timing cons. those adverted 'realities' as replacing the symbolic pictorials and narratives.

; ...Via books narrational solutions 'present' (a fictionalised reality, means the novel) therefore seems set to meet the genre's early roots. Temporality, or the Time (linear time to be precise), and the spatiality ('Travel', for example), are particularly stressed, due of reasons that those make the most obvious unbelievable and 'unreal' elements on a fiction. ; And at least it seems have (lot) similarity to some efforts by literature, the inventions and changes brought by the 1700s Enlightenment-'project' – Ie on fiction mainly, but then social changes cons. too. ...Though, can't say of being too well aware to make any good comparisons, let's mention – to some example from – that already referred novel by Diderot, 'Jacques the Fataliste'. ; Noticeable too, on that 'Dr. Hoffman's...' books ending is still rather more unbelievable, even partly disappointing cons. books content/story – That so just because it really has some ending. Of fictional sense it probably not matters, the fictional time remains – despite any fragmenting efforts, any narrative techniques created – necessarily, essentially linear. But the 'real time' (whatever we should/could mean by it), is not.

; It perhaps -to this place - also proper mention from Carter's other fictions, that y. 1977 published novel The Passion of New Eve. It seems fx often considered to, sort from, sister-novel to this here recommended selection. On 'New Eve', the themes maybe are more centered around the questions from an artificial/androgyne-humanity. (Also the violative sexual elements are often said from surface on Carter's mid-period writings. Fx, on this prior mainly discussed novel, both story's hero and heroine are raped, of physically.) The bit later written 'New Eve'-novel seems maybe more focused on the transitional nature of sex than other aspects resembling the above presented novel. Some interpretations from the New Eve's plot seem note it to parodise/make humors on the decades (1970s) militant feminism. And then is other main ethical and sexual issues by that decade; contraceptives, the sexual 'revolution' generally, the 'test tube babies', etc. ; Maybe there some similarities...Not read that novel, so can't make any comparisons between them.

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“Tell Modesta, Tell...” 

 (; Goliarda Sapienza), on Modesta (L'arte del Gioia, novel.)

In combined, at Carter's writing there's also much from the romantique – as well as 'adaptations' from the adventurous and fantastical. Maybe the essential quality from her writing, that all (mostly) is presented in a very reasoned manner. Also, seems it said quite correctly, that she intentionally nowhere lets the reader's attentions slip from, or allow themselves the 'luxury' of falling unconscious from, that it's fiction (equals narrative) they're reading. ; ...And besides, also from mention, there strong dramatic elements in lot from that, so no wonder she seems at 1980s wrote a fewsome works to the stage.

 Seems it, to the closing, then logically reminded her been from most/mainly feminist fiction writer – Perhaps the most famed and read by that time. At least since from mid/late 1970s to late 1980s (or until her death.) Mostly her fiction reflects that 1970s...But that too I only say by my any impression from. (Actually, must say, that I find it rather curious reads related to the said decade.) But the Angela's fictions usually are very thoughts-inspiring prose, I've noted. And then also (is) lot of a certain mor(t)al combat of being – And while it seems (often) on her fictions presented under some romantic 'disguise'...that notable at most of her works. Sometimes very picturesque and flowing colourful paragraphs, then bit of a sledgehammer, all by sudden.

; ...So, ultimately, usually (it) said that her fiction (/this book concerned) most noted influences were/having consisted of de Sade, Hoffman (not to be left devoid of my praise on this), De Quincey... ; ...de Quincey? Well...probably mostly that would rather make some opposing 'influence', some anti- (...Not seen mentioned to any sources for her fiction/writing.) - Thought this mainly from reason that a certain kind mental image just happened arise to my mind on these basis, partly due of reasons related for glancing De Quincey's writing 'Knocking at the gates of Macbeth' – Means, it just an image, or maybe a some cinemascopic picture, about her (Carter) standing next to the huge wall of silence, w. an elbow-full of books; a torn-out bible, cloth-bound volumes of a Voltaire, Poe, Baudelaire, Defoe...(,maybe couple cultural and social histories too), and knockin', volumes from Wittgenstein and de Sade droppin to terra firma (ground shaken), tomahawk tied at the waist - the axe, not that missile named to some monument of an unproportionate lack of a comprehension - and, furiously knockin'... 

; Let us allow for the ends of this this much of some mystification. (Orwell actually paints slight resembling kind image about Dickens, on the latter paragraphs from his essay, describing how he sometimes sees the man writing down his books some mad gleam in the eyes, laughing out loud... I think, merely that written just from to offer a little 'easing up', to (Orwell's) British contemporary readers, after the “blasphemous” observances at Dickens' fictions former presented by Orwell on that.) ; Supposin' there was on Carter's works probably blasphemies enough...I need not here from invent or refer on any. So these imaginations, like they say, just for some 'easin up'.

 

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...Neither having from any comprihensive acquaintance on fiction by Ernst Theodor Amadeus Hoffman – So, on this I'm not from compare the fictions by Hoffman and Carter, any manner. Hoffman cons. this only representing brief walk-through, mostly. (Yet, of course is the aspect about Carter's novel by it's very name having an allusion for, ie named to 'Dr Hoffman's desire machines...'. )

; The last from (Hoffman's) first names he seems decided take acc. that famous composer, btw. And, seems it may have been somewhat significant decision. (Mozart, W.A. 1756-91, to some reminders, we may also recall our former references about Grimm, on begins of this post) Because normative tastes – likely - still long prevailed on 1700s at music and music criticism, perhaps bit resembling from how Boileau's L'Art poétique (1674) had been applied for normative absolute auctoritat on lyric, during the preceded century. Anyway, unlike Beethoven, Mozart wasn't considered similarly merited 'classic' by that time – his 'place' as the principal romantique-epoch composer, wasn't quite that confirmed. At least not like since has remained (...maybe). But, soforth, Hoffman's choice to his second name - preferring the romantic, admiring Mozart – might've shown for a bit 'riskier' tastes by that time. (...maybe.)

; Seems that during Hoffman's life his doings were more focused on musical 'pests' (or trying to secure himself some official post from), while already by then his efforts on literature seem gained him most favor. ...On this basis, it maybe not surprising several his works from bear names that'd be perhaps more 'proper' to musical pieces; There is fx 'Jesuitkirche in G.' on a short-story collection 'Nachtstucke' (The collections name itself also reminder from music.) Most renown story, possibly, is Nussknacker – later also adapted for the ballet then composed by Tschaikovsky (It's story orig. to Hoffman's written Nussknacker and Mausekönig, p. 1809).

; Via the mentioned Nachtstucke, (1816-7, Orig. in two parts) Hoffman seems yet gained some fame and apparently relative good sales. Yet fx some renown 'critics', Goethe (J.W. 1749-1832) foremost, notably disapproved Hoffman's 'vulgar style' and his subjects. (...The judgement becomes more understandable, perhaps, via comparing from collection the story 'Ignaz Denner' to any Goethe's efforts closer to that kind 'popular romantic', or 'demonic story' - differences being quite notable. Fx, if thinkin' that carefully built structure of  Faust - a play, 1808. ...What at first comes to mind from Faust is the alchemist chambers and medieval myths, actually very romantic setting – But all yet is quite classicist by it's 'tone'.) ; On Hoffman, the main focus at that story is depiction about a leader to some gang of burglars who then, by treacherous means, intend corrupt and deceit story's main character. The 'name-sake' for story, that crook, also is created for so devilish by characterics as can be...main impression it owes more to folks tales than for sophisticated recreated 'mythologies'. So no wonder if there was some envy on part of that 'cultural giant' (such as Goethe justified described for.) In compared Faust also feels maybe slight 'out-of-place', by it's reliance on medieval and antique - fears not exactly felt present, but some more ancient. 

; For Hoffman's strenghts seems often also listed his skills from blur any limits btw the real and 'imagined' (or, to emphasize the emotionally felt supernatural.) He also preceded the wider break-through from (modern) techniques of descriptipting the inner emotions from characters/personnel in the novel.

; ...Yet this much mainly noted just due the said period (late 1700s-1820s, about) still was also (relative) rooted in common superstition, ie it did prevail in beliefs, persistently. (And in fact seems said Hoffman was blamed of some demonism [...Since the Wikisource-definition seems avoid the term and uses 'Demonology' instead for the term (; acc. defn; '...branch of the science of religions which relates to superhuman beings which are not gods.', etc...  it referred on above. Naturally we disclaim from all such popular commercial and profane cheap anti-religious humbugs, etc.] on his stories, even – While for the tastes by any modern reader it not feels from show anyhow immoral tales, mostly not even contains any supernatural incidents.) ; On Hoffman's stories usually relative little happens (compared on any modern 'standard'). Yet, as we should know, Hoffman often has both, the good plot and well created setting. Usually his stories are first realism, and only after that, say...the emotional dwellings. Which some of the good characteristics noted to main reasons from his popularity and to have gained place among forefathers to horror fiction. Yet there often is only some amount 'horrific', or descriptions of a seemingly supernatural.

; Other renown short-stories on collection fx that 'Jesuitkirche in G.', and 'Das öde haus', 'Das Majorat' ; Then is, Der Goldne Topf (1813), a short novella. Actually I think it for my own favorite among Hoffman's shorter pieces. Also worth mention to some landmark at birth of the modern fiction...If we allow us from only little exaggerate. (On this case too, Goethe becomes quite apparently in mind for comparison, since there is fx the idea about fallin' on dream in the plot. Likewise story's main character, young student, has lot from resemblance/owes smght to Goethe's Werther.) ; ...Then is also the Die Elixiere des Teufels (p. 1815, apparently, but the latter part maybe on 1818), which I've not read yet. Although intend to, so most what can be said is that it noted to a major piece later said having influenced plentyful of authors – Dostoyevsky, Stevenson, Hugo, maybe to some best renown, and, apparently Carter too.

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: This particular short-story/small novella recommended short-fiction (Mademoiselle Scuderi) occasionally is mentioned to some early 'archaic' form on what later has become known as 'detective story'. Yet, mainly here selected because it represents many usual qualities of Hoffman's fiction – fx, has various small 'plot-turns' tied for a compact little story. Then, fx that older female character (mdelle Scuderi) to some (among) main personnel(s) in the story seems for quite unusual choice – At least from the period/time that written considered. (Albeit, I think, that not any manner examplary precedent of some such famous character as Miss Marples...and sim.) In general, Hoffman's female characters remain quite conventional levels, typical to era's most romantic fiction, or what by then was written by men. Though, can't say from too definite or 'absolute', all in all he seems written about some 40 shorter stories.

Central to it's plot is story about murderous thiefs/thefts threatening the bourgeoise wealthy passengers on city streets. In the pasts, dark passages often were only candle-lit, or lightless, on typical town-alleys. Other aspects traceable for it's times of publication (and probably near preceded tumultuous era), are also valuable jewels (And their counterfeit. Though the story situates on a period from Ludwig the XIVth, by precise.) ..Seems it explained that by the time, often the regular people's main ownings, and especially those of women, consisted only from fewsome valuable gems, such as jewels. So the main topic by it also likely was more relevant cons. the 'reading public' at the time, than we presently find it. ; Conclusively, a novella worth reading, while it perhaps not quite among any best of Hoffman's short-stories.

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; Finally, there maybe a few excuses permitted offered...I mean by this, that my slight reservations at these remarks, mostly on basis from practice I've adopted/maintained now for some couple, perhaps about one and half years a time. - Precisely, havin' taken a habit from reading quite plentyful (indeed, much) of a fiction (and mainly especielt the fiction). As the downright followings I've then simply tended pour much of the results to these recoms. Largely so, because, this hasty 'schedule', plentysome devouring of words by me, having quite served from 'finding out' (Or, of finding in, if you understand my meaning – in the best cases, that's what the fiction does, it help's you to find some perspectives...Or smght like.)

...´'Suppose us now over most enthusiastic readings from that much of fictions. (Anycase, the follow-ups should then contain merely more from 'factual' stuff and fictions less often, perhaps only every 2^nd recom.) ; And - it maybe also worth mention – these views presented might probably bit suffer of my limited familiarity to any modern prose/literatures. For example...that (peculiar) term, perhaps formerly popular, 'magic realism' merely feels for me like some large 'categorial sink', smght (where) lot is thrown, but relative little then resurfacing. (Terms, categorial esp., are of course always quite horrible.) ...Also, 'cause I'm also rather old-fashioned, supposing this selection on Carter probably as far as we can go on anything from modern fiction (Meaning her writing-style or it's technique by that, and not the timing when it been written.) (; G.U.J.)

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Pics: ...the 'vampire-sequels' of a 'Rhapsody in Red' by Billy Graham (from Vampirella-mag, early 1970s. [ An interesting on (that latter pic), how the vampire is depicted from not shown of to abhorring the light (which has a rather central role on that) - Maybe it having become immune for it? Or, even for more horrifying, doesn't it care from being revealed (for sunlight) ? Is it desperate...? Of course it's the candle light in the story, but the association is btw the Darkness, and, Light. Maybe some very best stories of Graham's drawing. (All his stories not quite on same level of plot, but on that the story with some accomp. writer, probably Goodwin.) ] ; 'Whip and fingers' - of Metal Hurlant (1970s, detail of a cover) ; 'Wells portrait'- by Yuri Annenkov (1940s, about) ; 'Heathen-gods-a-raisin' - of Valiant  [...Comics from about the 1950s/-60s. Not very impressive - Since its mainly the conventional and common-place by story. But the drawings by Harold R Foster are often very detaily and fine to look. ...Actually smght you not generally often find at more recent created mass-comics, at least if on colors.)

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