Abstract
The spiraling tornado of Fevvers’ laughter began to twist and shudder across the globe, as if a spontaneous response to the giant comedy that endlessly unfolded beneath it, until everything that lived and breathed, everywhere, was laughing (Nights at the Circus, 295). Angela Carter’s writing is riddled with references to play, be it Fevvers’s explosive laughter, or the Colonel’s ‘Ludic Game’ in Nights at the Circus, the self-reflexive story ‘In Pantoland’, or her final novel Wise Children: ‘W...
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