By Niall Scott (Ed.)
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17. , p. 38. , p. 37. 20 Carter, The Sadeian Woman, p. 94. 21 Winterson, p. 133. , p. 110. , pp. 62-63. , p. 88. 25 S. Rushdie, The Satanic Verses, Vintage, Toronto, 1988, pp. 283-285. 298. , 304. 28 Weldon, p. 49. 29 Rushdie, p. 95. 30 Ibid. , p. 295. , p. 95. , The Bloody Chamber. Penguin, London, 1979. , The Sadeian Woman and the Ideology of Pornography. Pantheon Books, New York, 1978. , The Satanic Verses. Vintage, Toronto, 1988. , The Life and Loves of a She Devil. Sceptre, Chatham, Kent, 1983.
94. 21 Winterson, p. 133. , p. 110. , pp. 62-63. , p. 88. 25 S. Rushdie, The Satanic Verses, Vintage, Toronto, 1988, pp. 283-285. 298. , 304. 28 Weldon, p. 49. 29 Rushdie, p. 95. 30 Ibid. , p. 295. , p. 95. , The Bloody Chamber. Penguin, London, 1979. , The Sadeian Woman and the Ideology of Pornography. Pantheon Books, New York, 1978. , The Satanic Verses. Vintage, Toronto, 1988. , The Life and Loves of a She Devil. Sceptre, Chatham, Kent, 1983. , Sexing the Cherry. Vintage, Toronto, 1989. Behind the Mask of the Metaphor: The Unintentional Monster in a Graphic Text Phil Fitzsimmons Abstract This paper details the findings of a project that focused on illuminating how one of Australia’s leading graphic-novelists, Marcello Baez, created the ideal of the monster and the monstrous in his best selling text, Diablo.
10 They represented his own individual fears and an insight into his own personal monsters. 2. The Depths of the Monstrous A. Monsters of the Cultural Unconsciousness As this author sees it, monsters haunt the youth of the western world at every turn. He believes these monsters are firmly entrenched in their cultural psyche and lie just below the surface of consciousness waiting to escape. While there is a realisation they are there, Baez further believes there is no real understanding of what they are let alone how to exorcise them.