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Gordon, Edmund

Edmund Gordon, whose brilliant biography The Invention of Angela Carter won both the 2017 Slightly Foxed Best First Biography Prize and the Somerset Maugham Award, discussed the life and work of this most controversial and unconventional of writers at our 2018 Readers’ Day.

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20210515094005 Foxed Pod Episode 31 | The Magic of Angela Carter

Episode 31: The Magic of Angela Carter

The Slightly Foxed Podcast

Imagination, influence and the invention of infernal desire machines . . . Edmund Gordon, biographer of Angela Carter, guides the Slightly Foxed team through her colourful works and explores the wider realms of magical realism. Witty and wilfully idiosyncratic, Carter conjured sex and death from fairy tales in The Bloody Chamber, used her Somerset Maugham Award money to leave her husband and go to Japan to write, and absorbed the Latin American influences of Jorge Luis Borges and Gabriel García Márquez. We hear how she enlisted the Marquis de Sade as an ally of feminism, embraced pulp genres and opened doors for David Mitchell, China Miéville, Helen Oyeyemi and more, while always attending to the grammar of the folk story. And, to finish, there are the usual wide-ranging recommendations for reading off the beaten track.
20200901101527 Henry Yorke who wrote under the pen name of Henry Green - Edmund Gordon on Party Going

An Obscure Form of Magic

Edmund Gordon on Henry Green, Party Going

I’ve just read Party Going (1939), Henry Green’s comic and melancholic masterpiece, for the third or fourth time, and I’m still not sure how to convey its complex flavour. It’s a fantastically busy and exuberant novel, in which nothing really happens. (The major events include: an old lady picking up a dead pigeon and subsequently feeling ill; a beautiful young woman having a bath; a servant getting a kiss from a stranger.) It’s at once so beautifully written that I want to quote the whole thing, and so eccentrically stylized that it isn’t easy to find a quotable line. (Green was intolerant of standard English grammar and syntax; witness for example his take-’em-or-leave-’em approach to articles, as in the novel’s bizarre opening sentence: ‘Fog was so dense, bird that had been disturbed went flat into a balustrade and slowly fell, dead, at her feet.’) It’s an effervescent comedy of manners, set almost exclusively among members of the English upper class – and yet its most remarkable quality is an anguished sense of human suffering.

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