By Adrienne Rich
“We are within the presence the following of an enormous American poet whose voice at mid-century in her personal existence is more and more marked by means of ethical passion.”—New York occasions ebook Review
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Extra info for A Wild Patience Has Taken Me This Far: Poems 1978-1981
And, as for Florence, my sweetheart, I love her more than I can say; and I never realised it, until this moment’ (Waters 1998: 467). Waters’ utopian vision recalls Carter’s ironic invocation of the dawn of a new century in Nights, although significantly Carter chooses to conclude her novel, not with a millenarian or romantic gesture, but with a giant peel of laughter at the human comedy. There is the sense in Tipping that Nan is moving through a series of inauthentic selves until she attains a truer self at the novel’s end.
This chapter examines The Company of Wolves in relation to horror, to contemporaneous werewolf films, and to Dark Romance, examining its negotiations of gender and sexual identity. There has been much less written on adaptations of Carter’s work than on her fiction. Several scholars who discuss the film get mired in judgements about the relative value of literature and film. Some lament the way Carter’s ‘feminist’ stories 34 Angela Carter: New Critical Readings are dumbed down for a more mainstream audience, or her ‘sophisticated mythology’ is co-opted by the ‘grubby stereotypes’ (Bristow and Broughton 1997: 4) of the, by implication, conservative, sexist horror genre.
In addition, female power and resistance to expectations, especially in terms of gender roles, is foregrounded.
A Wild Patience Has Taken Me This Far: Poems 1978-1981 by Adrienne Rich