Product Details

• Amazon Sales Rank: #1068 in Books
• Published on: 1998-01-03
• Binding: Paperback
• 176 pages

Freya McClements, Irish Times
`Darkly erotic and utterly captivating.'

Synopsis
From familiar fairy tales and legends - Red Riding Hood, Bluebeard, Puss in Boots, Beauty and the Beast, vampires and werewolves - Angela Carter has created an absorbing collection of dark, sensual, fantastic stories.

From the Publisher
'One of the century's greatest writers' Sunday Times

Customer Reviews

The Jewel of my Library
Not for nothing is Angela Carter my favourite author. She was first recommended to me when I was a callow young lass of 17. But it took me a year or two more before I finally got a taste of her work, when we studied one of the stories in this collection (the Werewolf) for a university module.

I was entranced from the very first sentence "It is a northern country; they have cold weather, they have cold hearts." Carter's baroque prose is often akin to lying on velvet and drinking pearls, or sometimes like scraping scraps of bloodied meat from a bone. Dense and flavoursome, her narrative style seems to spring directly from the fantastical worlds it conveys.

The stories here are retellings of familiar (and some less familiar) fairytales. In one sense, they are modernised, but it would perhaps be more correct to say that they in fact strip away the sanitising and tinkering of centuries to get back to the dark, psychological undertones of the stories in their original form.

Wonderfully evocative, these fairytales are certainly not for children, and I can guarantee that you'll never be able to read Little Red Riding Hood or Beauty and the Beast in quite the same way again.

dark and beautiful
Carter reworks traditional European folk/fairy tales here, exploring their dark and cautionary nature; her stories dig into the darkness of the pre18th/19th centuries tales, as well as mirroring the ones of that time, theres therefore many layers to what she creates, she just adds (in a successful way) to subjects that are already complex. I love how she gives preconceived stories and morals a little twist, giving it new life and making it her own and much more. Her stories are written beautifully, they just flow, catching you up in a wonderfully dark and sensual rhythm that you loose your self in. I suppose what Carter does is make what is simple in the children's fables complicated. In the Bloody Chamber the girl does the sensible thing and it very nearly gets her killed, the `right' choice opens up a new and dangerous world of sex and death. Her characters contrast strongly with fairy tale stereotypes, giving women power in their desires and nature.

In terms of what she looks at: vampires, werewolves, feral children etc these are all things that are steeped in ambiguity and mystery and they are things that are looked at time and time again because authors and readers alike like to delve into the possibilities that such things hold. If you like these reworking of fairytales I would recommend looking at Marina Warner's writings and Paula Rego's Nursery Rhymes and art.

Excellent skill, based upon a false premise and poorly delivered
Carter is an excellent writer. Her skill shines throughout each short story in 'The Bloody Chamber'; her use of voice is superb, the adaption of traditional fairy tales to meet the expectations of a modern audience has been pulled off well, the juxtaposition of traditional with modern vocabulary is stark and the exciting symbolism rounds off the characteristics.

However, what is the most frustrating thing about this collection of stories are the questions and contradictions raised. Is Carter writing as a feminist [second-wave feminism], or is she writing as a post-feminist [third-wave feminism]? Does Carter support or deplore the degragation of male figures in literature, and conversely does she view female diminution or empowerment as a better method for highlighting her stance towards feminism? The lack of consistency is not a cause for reflection or interest, it isn't something deliberately done to promote thought.

Overall, the novella of short stories is an example of self-indulgence for Carter. Due to the lack of semantic and moral consistency, the book cannot show anything new, and it cannot properly change our opinions.