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Gabrielle Mc Caffrey
ENG 340
18 June 2009
The mirror is a marvel of humanity; it holds no secrets, tells no lies. The mirror is
unbiased, inanimate, and hauntingly accurate. Most humans would generally, if given a
choice, avoid mirrors at all costs. Contrarily and ironically, however, this painstaking
truthfulness of mirrors is not enough to turn away the self-conscious, vain, insecure, as
well as the egotistical. A mirror can tell us what no one else can; painting a picture of
absolute truth, imitating back who we are (which may or may not be who we try to be).
In order to assess the results which a mirror regurgitates, the viewer must first be
entirely aware the image is of course, his or her self. Humans recognize themselves as
separate entities from others, from the world. This ability draws the line between beast
and human. A literary exploration of this idea is Angela Carter’s Wolf-Alice. In the story,
the main character is a feral child who has been raised by wolves since birth and does
not recognize herself as a human. Although Wolf-Alice is a human, “nothing about her is
human is except that she is not a wolf” (1032). She functions in an animalistic state of
timelessness, existing strictly in the “now,” oblivious to the past and the future. She
walks on all fours because she cannot stand. She howls because she cannot speak. By
being a human physically but acting inhuman as well as failing to recognize herself as a
human, Wolf-Alice brings into question what separates beast from humanity. By gaining
existential knowledge with the ability to recall experience as well as shifting from a
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as well as execute human traits which are expected from her in a contemporary society.
Wolf-Alice possesses human characteristics but it is not until she is in the presence of
human belongings such as a mirror or a dress which she can realize them and consider
a day to day basis. She possesses no concept of time, inhabiting “only the present tense,
despair” (1033). This nature of Wolf-Alice to live in only a present tense is decidedly
inhuman as humans live with existential reality as well as reaction to experience. Wolf-
Alice, at this point, cannot discern between past events or learn from the experiences
she has already had. Essentially, time is nonexistent to her as it is a humanly defined
Wolf-Alice is found her laying next to her bullet ridden mother and brought to a
convent. In true hubristic nature, the nuns take her in to try to teach her how to act as a
human. When their attempts fail she is deposited at the house of a Duke who is half-
man, half-beast and presumably does not eat Wolf-Alice due to the fact she is so
inhuman. She does not entirely react to the change of location and when she is left with
the Duke she “settled down on her hunkers with that dog’s sigh that is only the
expulsion of breath and does not mean either relief or resignation” (1033). She is
unphased by the events which have occurred more-so than even an animal or beast
In her time at the Duke’s castle, she exists in a dreamlike state, barely employing
the small tasks which the nuns had taught her for the Duke, such as making his bed,
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serving as an extremely primitive maid. She grew in the castle “amongst things she
could neither name nor perceive” (1034) until a major event occurs—she begins to
menstruate. For her, the flow seemed to continue on for “a few days, which seemed to
her an endless time” (1035). This seemingly endless continuation of her menstrual cycle
only seemed so because she had no human concept of time as well as her nature of being
ruled by an animalistic endless “now”. Although she is, at this point, accustomed to
being dirty, she cleans up herself as the narrator notes “it was not fastidiousness but
shame that made her do so” (1035). This feeling of shame is unusual to Wolf-Alice, as it
denotes a humanistic characteristic that is only present when one is self aware as well as
Wolf-Alice learns to track her menstrual cycle as well as prepare for it ahead of time,
which lends itself to force her to understand the concept of time. “She learned to expect
these bleedings, to prepare her rags against them and afterwards, neatly to bury the
dirty things… you might say that she discovered the very action of time by means of this
cycle” (1036).
While Wolf-Alice searches for ways to stop her bleeding in the house, she
discovers a mirror. Here Carter utilizes the mirror to draw lines between beastliness as
well as humanity. This echoes to an earlier passage drawing parallels to the Duke with
mirror” (1033). Wolf-Alice does not understand what she sees in the mirror is her own
reflection such as when “she was lonely enough to ask this creature to try to play with
her, barring her teeth and grinning; at once she received a reciprocal invitation” (1035).
phenomenon of the reflection that is found in animals and children. He notes "When he
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spies his mirror image, he wonders whether what he sees is really he, or a child just like
him standing behind this glassy wall" (47). While this characteristic is true of both child
and animal, the realization of the product of a mirror ultimately sets beast apart from
human. The realization that her reflection is just a shadow forces her to realize she is in
control of her surroundings. It is then her perception begins to shift to a form of human
subjectivity. She succeeds in separating herself in a physical form from her surroundings
as well as a psychological form from others, “she goes out at night more often now. The
landscape assembles itself about her; she informs it with her presence. She is its
significance” (1037). Wolf-Alice is caught between two worlds much as the Duke is, but
her ability to recognize herself in the mirror is what draws her out of her timelessness
Her first memory, evidence of her growing existential reality, is one of her foster
mother wolf. It is then she “perceived an essential difference between herself and her
surroundings that you might say she could not put her finger on—only, the trees and
grass of the meadows outside no longer seemed the emanation of her questing nose and
erect ears, and yet sufficient to itself, but a kind of backdrop for her” (1036). Wolf-Alice
explores her new self as well as the boundaries of her existence. The more human Wolf-
Alice feels on the inside, the desire to outwardly look human becomes stronger.
When the humans in the town try to take revenge on the Duke for killing as well
as eating a bridesmaid, Wolf-Alice shows she has not completely abandoned her
animalistic nature by showing pity towards the injured Duke. When she lived with the
wolves, she was looked upon as flawed as noted when the narrator says, “The wolves had
tended her because they knew she was an imperfect wolf” (1034). Much in the same way
Wolf-Alice was considered like a defective wolf, the Duke is considered a flawed human.
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embraced her newly found human experience she would have been inclined to seek
revenge on the Duke as well. The townspeople cannot understand his torment as Wolf-
Alice does because she has felt those sensations in the way he has. It is through her own
kindness alone which she is able to save the Duke at the end of the story; she is capable
enough to recall her own innate animal kindness in the face of a terrorizing matter, she
as one stuck between a beast and wolf transformation. Through her grasp of her internal
as well as external human, she is able to help the Duke regain control of his own.
as well as an ancient one. In his book Feral Children and Clever Animals, Douglas
Candland demonstrates the pertinence behind the case studies of wolf-children or feral
children as he states “The importance of feral children and clever animals is not that
they are feral or thinking, but that we human beings ascribe characteristics to these
situations. Such characteristics tell us much about ourselves, if less about the children
and animals we study" ( 17). Here Candland is referring to the manner in which we place
When Wolf-Alice was at the convent, human’s hubristic nature came out as she was
forced to behave like a human rather than animal. Despite the nun’s efforts, however,
Wolf-Alice is not able to complete most of the tasks and in frustration, is kicked out.
This is not because Wolf-Alice is not able minded enough to learn but because in her
animalistic mind, walking on four legs is not efficient and utilizing a bathroom is not
needed.
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Wolf-Alice, despite learning to recognize human qualities in herself, does not ever
People: Feral Children" Archeologist Brian Haughton asserts "Study of such children
can cast light on the differences and similarities between human and animal natures,
the process of how language is acquired, and whether certain human characteristics are
learned or genetic" (1) . No account of a feral child coming back into civilization has
been successful due to the complications that are involved with the proper training that
is needed.
Wolf-Alice channels themes from Through the Looking Glass and What Alice
Found There by Lewis Carroll, The Jungle Book by Rudyard Kipling, and Little Red
Riding Hood. These stories are additional examples of children who not only embrace
their animalistic or childish curiosity, but utilize it as a tool for self-identification and
definition. Wolf-Alice employs similar thematic elements such that her childish curiosity
societal norms on a child who was only exposed to the animalistic and primal culture of
her wolf family. Angela Carter leaves the transformation of the two at the end of the
story ambiguous to demonstrate the fine line between human reality and innate, yet
inherently primal instincts. The ending also offers a dichotomized picture of physical
outward appearance of beastliness coupled with reality. Wolf-Alice is a human who acts
in a primal manner which includes acting upon her animalistic pity. The Duke is a half-
hubristic notion that the existence of culture is what defines a human from an animal.
expectations while calling into question what defines a human from a beast, from a
Works Cited
Carter, Angela. “Wolf Alice.” The Longman Anthology of Women’s Literature. Ed.
<http://mysteriouspeople.com>.