eBook Ò ePub The Bloody Chamber & Other Stories çFree Ô randarenewables

book The Bloody Chamber & Other Stories

eBook Ò ePub The Bloody Chamber & Other Stories ç Free Ô randarenewables Õ Shares ISBN 9780140128376 with this edition Published after 1992 different cover artFrom familiar fairy tales and legends Little Red Riding Hood Bluebeard Puss in Boots Beauty and the Beast vampires and And werewolves Angela Carter has created an absorbing collection of dark sensual fantastic stories Exuisite His touch both consoles and devastates me; I feel my heart pulse then wither naked as a stone on the roaring mattress while the lovely moony night slides through the window to dapple the flanks of this innocent who makes cages to keep the sweet birds in Eat me drink me; thirsty cankered goblin ridden I go back and back to him to have his fingers strip the tattered skin away and clothe me in his dress of water this garment that drenches me its slithering odour its capacity for drowning

Angela Carter Ú The Bloody Chamber & Other Stories ePub

Shares ISBN 9780140128376 with this edition Published after 1992 different cover artFrom familiar f Angela Carter reveals the dark heart of the fairy story in these memorably uirky versions She is able to intensify the mythic core of each of these tales not by stripping them down to their essentials the obvious way but by using eccentric illuminative detail expressed in individualistic prose Although these versions could be described as feminist and anti patriarchal such labels are too limiting for the fierce independence of Carter's intelligence She is a writer who never shrinks from acknowledging the transformative power of sexual passion even if the object of that passion be unworthy or evil even if the passion itself be dark and destructive It is her frankness her clarity and her art not the adherence to any philosophical position that make these tales so liberating so powerful such flawless examples of craftsmanship and style

kindle Å The Bloody Chamber & Other Stories Ú Angela Carter

The Bloody Chamber & Other StoriesAiry tales and legends Little Red Riding Hood Bluebeard Puss in Boots Beauty and the Beast vampires Hey there Little Red Riding HoodYou sure are looking goodYou’re everything a big bad wolf could wantListen to meI don’t think little big girls shouldGo walking in these spooky old woods alone —Sam the Sham and the Pharaohs 1962In The Bloody Chamber Angela Carter’s uses a decidedly feminist slant to re tell familiar myths and stories “The Company of Wolves” for example provides a point by point rebuttal of the myths embedded in the modern versions of “Little Red Riding Hood” Interestingly the earliest versions of the fairy tale were primarily oral and far risué These versions included sexual elements such as the wolf actually a “werewolf” in the oldest versions telling Red Riding Hood to throw her clothes one by one into a fire Leeming and Sader 391 Further—in these early versions—Red Riding Hood tricks the wolf by pretending that she needs to go outside to relieve herself Once outside Red Riding Hood uickly removes the rope attached to her ties it to a tree and escapes Bushi In these original versions Red Riding Hood outwits the fox and the sexual overtones are explicit By the time Charles Perrault wrote his version in 1697 the story had been sanitized into a lesson on young girls’ morality In Perrault’s version the story serves to warn young girls about the threat men pose to their sexual innocence but does not include the mother’s warning to “stay on the path” that appears in most later versions such as that of Wilhelm and Jacob Grimm in 1812 Instead Perrault ends his tale with an overt moral warning Young ladies—in particular well bred and attractive young ladies—should not be beguiled by men’s wolfish charm 3 Jacob and Wilhelm Grimms’ version originally called “Little Red Cap” far familiar to American and English audiences than that of Perrault casts Little Red Riding Hood as a younger girl ie even vulnerable and begins with the famous warning “Walk nicely and uietly and do not run off the path” Predictably Little Red Riding Hood forgets her mother’s warning strays off the path and gets “deeper and deeper into the wood” Once in the woods Little Red Riding Hood’s troubles begin Ultimately a hunter who just happens to be passing by saves herOf most significance is the decided shift the fairy tale has undergone through time In the original versions Little Red Riding Hood saves herself and is never gulled by the wolf In versions dating from the seventeenth century onward the girl strays from the path actually believes the wolf might really be granny and is saved by a huntsman Further in the Grimms’ version and its modern variations Red Riding Hood’s comment at the end of the story demonstrates that she has learned her lesson “As long as I live I will never by myself leave the path to run into the wood when my mother has forbidden me to do so” However the fairy tale’s other messages to young women are embedded and destructive We are easily distracted and disobedient; we are not safe alone in the woods traveling off the beaten path; we are fairly stupid; we get ourselves in trouble; and we need to be rescued by a man In contrast Angela Carter’s short story “The Company of Wolves” restores the tale’s original elements—such as the overt sexuality and a heroine who is resourceful rather than helpless—but adds a feminist perspective Carter’s heroine is “strong minded” packs a carving knife in her basket of goodies and is powerful because of her virginity “She stands and moves within the invisible pentacle of her own virginity She is an unbroken egg; she is a sealed vessel; she has inside her a magic spaceshe is a closed system; she does not know how to shiver She has her knife and she is afraid of nothing” Further in Carter’s version Red Riding Hood does not just protect herself but controls the “game” The seduction scene plays out like a modern slasher movie As the girl—at the wolf’s bidding—removes each item of clothing and ostensibly becomes and vulnerable we begin to see her as a victim Just as we become lulled by the predictable script in motion the girl now completely naked responds to the wolf’s threat “All the better to eat you with” by bursting into laughter “She knew she was nobody’s meat” Even given the background Carter provides in the story’s beginning the scene startles We knew the girl was strong independent and armed However the pattern of woman alone traveling alone helpless alone victim is so embedded in our consciousness that we are caught off guard And that is precisely Carter’s point Adapted from a prior publication