Introduction

Chapter 1

The Shell in the Woods: Questioning the “Unnatural” through Uncanny Fairy Tales’ Mirrors, Wonder, and Hybridity

1.1 Theoretical Overview: The Unnatural Vs the Uncanny

1.2 Uncanny Wonderlands

1.3 “All mirrors are magic mirrors”

1.4 Hybrid Characters, Genre, Language

1.5 Angela Carter’s Shell

Chapter 2

Halls of Mirrors: Uncanny Glassworlds in the Castles of the Mind

2.1 Si se non noverit: The Danger in the Mirror

2.2 “The mirror has lifted it out of the region of fact into the realm of art”: Fire and Ice and Mirrors’ Paradoxical Potential

2.3 Metamorphic Cinderellas: Glass and the Grotesque

Chapter 3

Fairy Brides, Floating Princesses, Jabberwocks: Hybrid Uncanniness and Fairyland Pastiches

3.1 Scientific Folktales, Magic Realities, Comedic Sexual Tragedies: Uncanny Fairy Tales and Their Hybrid Genres

3.2 Fairy Brides, Mermaids, Beastly Princes: Hybrid Characters

3.3 “ ‘Twas brillig, and the slithy toves /Did gyre and gimble in the wabe”: Hybrid Expression and Its Uncanny Effects

Chapter 4

Uncanny Wonders: Puzzling Lands, Dragons, and Dreams

4.1 Wonderlands: Imaginary Landscapes Escaping Fixed Interpretations

4.2 “I will try to be wonderful; but I cannot promise first-rate wonders”: Troubling and Subversive Wonders

4.3 “That gentle light of evening that is Wonder’s native haunt”: Wonder, Dreams, and Childhood

Conclusion