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"A Reciprocal Pact of Tenderness" Sadean Pornographic Structures in Angela Carter's The Bloody Chamber Ma Thesis Janneke van Engeland Master Thesis Title: “A Reciprocal Pact of Tenderness”: Sadean Pornographic Structures in Angela Carter’s The Bloody Chamber Name: Janneke van Engeland Student number: 10549013 Programme: MA English Literature and Culture, University of Amsterdam Supervisor: Dr N. D. Carr Date: 25 June 2019 1 Statement of Originality This document is written by Student Janneke van Engeland, who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document are original and that no sources other than those mentioned in the text and its references have been used in creating it. 2 Contents Abstract ................................................................................................................................................... 4 Introduction ............................................................................................................................................. 5 1. Feminist critique of the fairy tale and pornography ............................................................................ 9 2. Angela Carter and Sade: materialism and demythologising ............................................................. 17 3. Responsibility and “The Bloody Chamber” ...................................................................................... 24 4. Reciprocity and “The Company of Wolves” .................................................................................... 36 Conclusion ............................................................................................................................................ 44 Works Cited .......................................................................................................................................... 46 3 Abstract When Angela Carter’s The Bloody Chamber was published in 1979, it sparked a feminist debate which is continuing to this day. Some feminist critics have read the stories as victim- blaming stories of rape that reinscribe patriarchal attitudes towards sexuality, whereas others have read the stories as successful rewritings of fairy tales which portray women fight back against patriarchal attitudes and discover a female desire. Most criticism has focused on the fairy tale aspect of The Bloody Chamber, but has neglected its pornographic aspect. In this thesis, I will argue that it is necessary to read The Bloody Chamber in conjunction with Carter’s feminist polemic The Sadeian Woman (1978) and the Marquis de Sade’s libertine novels in order to open up the full feminist potential of the stories. I will analyse two of the stories on the basis of three Sadean pornographic structures: firstly, the dichotomy of mythical roles of femininity; secondly, the basis of male pleasure in the sexual objectification of women; and thirdly, the solipsistic conception of pleasure and its consequent victimiser- victim relationship between sexual partners. I will argue that the two stories from The Bloody Chamber address and subvert these structures. I will conclude three things: firstly, that Carter’s feminism cannot be categorised as either pro- or anti-pornography, but that it reaches its own conclusions; secondly, that the addressing and rewriting of pornographic structures lies at the heart of The Bloody Chamber and that the fairy tale is a vessel through which these structures are addressed; and finally, that the strength of Carter’s feminist thinking is its ambiguity and its insistence on the complexity of human sexuality. 4 Introduction There’s a story in The Bloody Chamber called “The Lady and the House of Love,” part of which derives from a movie version that I saw of a story by Dostoyevsky. And in the movie, which is very good, the woman, who is a very passive person and is very much in distress, asks herself the question, “Can a bird sing only the song it knows, or can it learn a new song?” Have we got the capacity at all of singing new songs? It’s very important that if we haven’t, we might as well stop now. Can the marionette in that story behave in a way that she’s not programmed to behave? Is it possible? – Angela Carter1 Angela Carter’s The Bloody Chamber and The Sadeian Woman When Angela Carter’s short story collection The Bloody Chamber was published in 1979, it gave her a wider audience than she had ever had before and it meant the breakthrough of her career as a writer. The stories in The Bloody Chamber are usually seen as reworkings of well- known fairy tales such as “Snow White”, “Bluebeard”, “Beauty and the Beast” and “Little Red Riding Hood”. Using pre-existing narratives and then changing and subverting them, Carter rewrites these traditional fairy tales from a self-proclaimed feminist perspective, or as she described it herself, “putting new wine in old bottles” and then “mak[ing] the bottles explode” (Carter, “Notes from the Front Line” 69). These new fairy tales bring out the latent content in traditional fairy tales: the violence, the sexuality and the misogyny. In 1978, a year before The Bloody Chamber, Carter’s feminist polemic The Sadeian Woman & The Ideology of Pornography was published. In The Sadeian Woman, Carter analyses the work of the Marquis de Sade, the eighteenth-century French pornographer, and makes the bold claim that his writings hold a feminist potential. Based on Sade’s analysis of sexuality, Carter presents the idea of a “moral pornography”: a pornography that offers a critique of current relations between men and women and that in this way can be used in the service of women. The critical debate It is now 40 years after the publication of The Bloody Chamber and 26 years after Angela Carter’s death, but there is still a lively interest in Carter’s work and persona. In 2017, a 1 Katsavos, Anna. “An Interview with Angela Carter.” Review of Contemporary Fiction, vol. 14, no. 3, Autumn 1994, p. 16. 5 biography was published,2 and in August 2018 a BBC documentary aired on TV (Angela Carter: Of Wolves & Women). Much of this interest focuses on Carter as a feminist writer. At the time of publication, both The Bloody Chamber and The Sadeian Woman were strongly criticised by anti-pornography feminists. The controversial use of the world’s most notorious pornographer for a self-proclaimed feminist argument in The Sadeian Woman caused “shock and disgust” (Gamble 112). Most criticism, however, has focused on The Bloody Chamber and asks the question: does Carter succeed in changing patriarchal fairy tales into new feminist tales? Some critics have read the stories as reinscribing patriarchal attitudes towards women and “eroticising … sexual violence and victimisation” (Gamble 111), whereas others have read them as successful rewritings of misogynistic fairy tales in which “women grab their own sexuality and fight back” (Makinen 3). Most of the criticism approaches the stories in The Bloody Chamber with the starting point that they are rewritings of fairy tales, which is certainly an important aspect but certainly not the only one. What has been neglected in the debate on The Bloody Chamber are the pornographic dimensions of the story collection: the influence of the Marquis de Sade on the stories and the collection’s connections with Carter’s The Sadeian Woman. As the only work of non-fiction, The Sadeian Woman stands out from the rest of Carter’s work consisting of novels and story collections, and it has not received as much critical attention. A few recent critics, such as Nanette Altevers and Sally Keenan, have analysed The Sadeian Woman as the main work in their research and have argued that working through Sade has been a watershed moment in Carter’s feminist thinking (Keenan 134). Still, only a small number of recent critics (Robin Ann Sheets, Elaine Jordan and Heta Pyrhönen, for instance) have dedicated a substantial part of their argumentation to reading The Bloody Chamber in conjunction with The Sadeian Woman. The present study In my view, the pornographic dimensions of The Bloody Chamber and the influence of the Marquis de Sade’s writings on the collection have been given too little attention. I think that it is necessary to read The Bloody Chamber in conjunction with The Sadeian Woman, and also to look beyond this book and to go back to the original Sade, in order to open up the full feminist potential of Carter’s stories. In this thesis, firstly I will argue that, rather than as a 2 Gordon, Edmund. The Invention of Angela Carter: A Biography. Vintage, 2017. 6 rewriting of traditional fairy tales, a feminist reading of Angela Carter’s The Bloody Chamber is best approached as a story collection that imitates and at the same time distances itself from Sadean pornographic structures. Secondly, I will argue that the stories “The Bloody Chamber” and “The Company of Wolves” negotiate the requirements of and eventually conceive of an equal and reciprocal sexual relationship between men and women. With this thesis, I aim to join the critical debate on Angela Carter’s The Bloody Chamber and The Sadeian Woman as feminist works. In my analysis, I will identify three key structures from Sadean pornography that, in my view, form the basis for the feminist set-up of the stories “The Bloody Chamber” and “The Company of Wolves” from The Bloody Chamber. I will return to these three Sadean structures, which are not necessarily representative of all pornography, throughout the thesis. The first pornographic
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