Subsequently, Carter also “attempts to decolonise our habits of thought” (Makinen) by working within and against fairy tale conventions in her bid to expose how Western culture has “shaped limiting concepts of gender and sexuality” (Bristlow and Broughton).Īs a woman who personally and publically identified herself as a feminist, it comes as no surprise that Carter’s stories within The Bloody Chamber are informed and influenced by her feminist principles. This is specifically achieved in the intense and vibrant title story, ‘The Bloody Chamber’, which tells the story of a young woman’s seduction into – and escape from – a deadly marriage. It dismantles and explodes long-established depictions of women within the fairy tale genre, which “encoded the dark and mysterious elements of the psyche” (Makinen).īy re-shaping these tales, Carter was “deliberately drawing them out of their set shapes, out of the separate space of children’s stories or folk art and into a world of change” (Sage) these are “no children’s bedtime stories…they are fierce, dark, erotic gothic” (Gamble). This essay intends to explore how Carter’s text presents us with a complex and original expression of a forceful feminist vision. The Bloody Chamber injects new energy into traditional tales and motifs by deconstructing and transforming some of the core elements that support such stories.

You think you can predict the twists and turns of the ensuing ride, but are instead taken on an electrifying, exotic journey that will stimulate you from beginning to end. Reading Angela Carter’s collection of opulent short stories, The Bloody Chamber (1979), is like riding an exhilarating roller coaster. “I am all for putting new wine in old bottles, especially if the pressure of the new wine makes the old bottles explode” -Angela Carter

Photography by Mike Dodson, via Vagabond Images These are no children’s bed time stories…they are fierce, dark, erotic and gothic.

Stories in the bloody chamber