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1、chap58/9/062:22pmPage68DialecticofEnlightenmentinthe1960sGothicAngelaCarter’sHeroesandVillainsChiharuYoshiokaKinkiUniversityItisinthecourseofbeing‘veryirritatedattheGothictag’thatreviewershadappliedtothethreebooksshehadpreviouslypublished,thatAngelaCarterdec
2、idedtoshowthem‘whataGothicnovelreallywas’.1WhenCarterenteredintothisprojectinHeroesandVillains(1969),however,shedidnotjustwriteanovel‘withowlsandivyandruinsandabreathtakinglyByronichero’.2Embarkingontheuseofgenrefictionaspoliticaldiscourseandfindingavoicetotel
3、lastoryofherselfandhergeneration,Cartermadeamajorbreakthroughinhercareer.Carter’spreviousnovelsofferrealistrepresentationsof1960sprovincialbohemia.IntheBristol‘realism’trilogy:ShadowDance(1966),SeveralPerceptions(1968)andLove(1971),thescenesusuallytakeplacei
4、naclosedroomintypicalbohemianhouseholds.Theoppressiveairinthehermeticspaceissuffusedbyfrustratedenergy,wheretheoccupantsindulgethemselvesinthemasochisticallydecadentfeelingof‘thebottom’.FeelingthattheconventionalvaluesystemoftheWesternworldhaslostitsfoundati
5、on,thesixtiesbohemiansremaininadanglingexistence,spiritualnomadsstrategicallyescapingfromanyideologicalcentre:theirsenseofbeingisthesenseofanending.Whateverbreakstheclaustrophobicfrus-trationhastobesomethingextraordinary,something‘counter-factual’:hencethepo
6、pularityoftheGothicorFantasyinthe1960s.Thesenseof‘happening’,theinterminglingofartwithlife,suitsthisclimateofending,whenconventionalreal-itydoesnotholdcoherence.3CartercitesintheepigraphtoHeroesandVillainsanopeningpassagefromGodard’sAlphaville(1965):‘Therear
7、etimeswhenrealitybecomestoocomplexforOralCommunication.ButLegendgivesitaformbywhichitpervadesthewholeworld’.Itis,then,butafewstepsfromwritingsixties’‘realism’tofindingaformmoresuitableforseizingthesixtiessenseofreality,ahazardoussequenceofevents,ortableaux,ch
8、aineduponeafteranother.Breakingdownthesymbolicorderconstructedintheinfant’sminddescribedbyJeanPiaget,Fantasyisfictionalre-constructionofthe‘innocent’eyes.4Inhisstudyoftheeighteenthcentury,TheInve
