Importance Of Fairy Tale Characters In 'The Magic Toyshop' By Angela Potter

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When Angela Carter died in 1992, Salman Rushdie said that “English literature has lost its high sorceress, its benevolent witch-queen,” Margaret Atwood called her “the Fairy Godmother,” BBC Late Show presenter “white witch of English literature,” and J.G. Ballard a “friendly witch.” Thus, due to her interest in fairy tales and folklore, the praises and compliments she received were mainly about her rewriting of fairy tales. As Stephen Benson suggests, “the facet of Carter’s work that seems to have made the transition into the mainstream is its association with the fairy tale,” since “[t]he majority of her work as editor and translator revolved around the fairy tale.” In fact, she is preoccupied with fairy tales in most of her fiction works, including her novels, which frequently include fairy-tale motifs or images. As Merja Makinen points out, fairy-tale elements had been present in Carter’s work as early as in her novel The Magic Toyshop (1967). However, it was during the 1970s that Carter became “more explicitly and systematically interested in narrative models that pre-date the novel: fairy tales, folk tales, and other forms that develop by accretion and retelling,” and focused on editing, translating and rewriting fairy tales. Marina Warner writes that “Angela Carter’s quest for Eros, her perseverance in the attempt to ensnare its nature in her imagery, her language, her stories, drew her to fairy tales as a form.” The Bloody Chamber (1979) is Carter’s crucial

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