It was more than a little shocking in the 1960s that this novel began with a 15 year old’s awakening sexuality, and a girl’s at that. Angela Carter was excellent at shocking people into questioning their assumptions, and she certainly did this in The Magic Toyshop.
It was her second novel, first published 1967, and reissued by Virago in 1981. This is my choice for the 1960s in the Decades Project 2020 (see below). Feminism is being openly canvassed from this decade which can be seen in the emergence of new writing by women.
The Magic Toyshop
Melanie (15) has lived a comfortable life with well-off parents, a younger brother (Jonathon 12 who is mad on model shops) and Victoria (5 but still babied). At the start of the novel their parents are absent in America. Melanie discovers her mother’s wedding dress and tries it on one evening and exults in its sensuality. The dress is ruined when she is locked out and has to climb back in up a pear tree. When her parents are killed in the Grand Canyon she sees herself as responsible.
The children are sent to live in London with their Uncle Philip who carves toys in wood and who runs the toyshop. They soon find that the household is larger than they knew: he has married Margaret, who became mute at her marriage. That is such a powerful image. Her two brothers also live in the house above the toyshop, and Finn is apprenticed to the toymaker. Francie is a fiddler.
Phillip is a patriarchal bully. He believes girls should not wear trousers or speak unless spoken to. His word is law, and he browbeats all the household. His passion is to make nearly life-size puppets and to enact playlets with these. The only audience is the household.
The Freudian undercurrents are many. One of the enactments is the swan’s rape of Leda, played by Melanie. To look smart Margaret wears an unflattering grey dress and a silver choker made by her husband.
The dress fell straight from her shoulders to a hem mid-way down her shins in a long, vertical line. It fitted her badly, barely skimming her body and catching on her bony hips. It was difficult to imagine she bought the dress on purpose, had one fine day long past go into a shop and tried on dress after dress and, finally, taking this grey and unbecoming tube of cloth from a rack laden with many-coloured garments, slipped it over her head, examined herself fore and aft in the changing room mirror, smiled with pleasure, clapped her hands in approval and said to herself: ‘This is lovely, this is the very thing,’ while a curled, perfumed salesgirl hovered, saying: ‘But it’s perfectly you madam.’ (111-112)
The choker is designed to fulfil its function if she moves too much. ‘It was heavy, crippling and precious …’ (112).
The story follows the developing relationship between Finn and Melanie, as they observe how Philip treats each of them: physical abuse for Finn and neglect and then sexual abuse for Melanie. The two take tentative steps towards their own relationship, and find strength with each other to finally rebel.
At night, in the garden, they faced each other in a wild surmise. (200)
This fantastic tale, which ends in incest and a conflagration and the possible death of the two younger children, is not a simple contrast between goodness and wickedness, youth and age, or even wicked masculinity vs the goodness of femininity. It has complexity in its themes of love and abuse, adult and adolescent sexuality, play and life, reality and magic. Even the title has an ambiguity or two: a commercial venture that is magical, simultaneously of the adult and the juvenile worlds. The title also indicates that this is not a story of social realism. It’s powerful, rich and very imaginative.
I loved its magic, its sensuality and the creative way in which abusive behaviour is revealed and gets its comeuppance.
Angela Carter (1940 – 1992) was born in Eastbourne, UK. She spent some of her childhood with her grandmother in Yorkshire as an evacuee. After school she followed her father into journalism, and then, having married and moved to Bristol, went to Bristol University.
She left her husband and began travelling, spending two years in Tokyo, and visiting other parts of the world. She returned to write professionally, novels, short stories, articles, as an editor and translator and in TV, film and radio.
Her biographer Edmund Gordon refers to her ‘subversive intelligence’ which contrasted with the sober social realists who dominated fiction in the ‘60s in the UK. She continued to write, combining her taste for playful, gothic, humorous, science fiction, fairy tales, and fantastical surrealism.
She was not a joiner, but energetically pursued her individual values and beliefs in her writing. Edmund Gordon suggests that she has been subjected to mythmaking since her early death, and I think I have been afraid of reading her work because of the myths. The Magic Toyshop has changed my mind. She has so much to say still today.
Angela Carter: A Portrait in Postcards by Susannah Clapp on her website: www.angelacarter.co.uk
The Invention of Angela Carter by Edmund Gordon (2017)
The Magic Toyshop by Angela Carter, first published in 1967. Virago Modern Classic edition released in 1981, which is the edition I used. 200 pp
The Decades Project 2020
This year I am exploring previously published novels by women. I am framing my choices from the Virago collection: Brilliant Careers: The Virago Book of 20th Century Fiction, edited by Ali Smith, Kasia Boddy and Sarah Wood. This collection reproduces an extract from one hundred books, one published in each year of the century and reissued by Virago. My choices include rereads, classics and some new discoveries.
The most recent choices for the project are
Passing by Nella Larsen (1929)
Their Eyes Were Watching God by Zora Neale Hurston (1937)
A Stricken Field by Martha Gellhorn (1940)
The Dud Avocado by Elaine Dundy (1958)