In 'The Bloody Chamber', the narrator is an only child and it's her mother who comes to her rescue. Adapted Out: In the original 'Bluebeard' tale, the heroine is rescued from her evil husband by her brothers.

However, when she realises the Beast is dying because she broke her promise to him, Beauty's old personality is restored and she rushes at once to his side she doesn't even notice when she tears her fine dress trying to reach him in time.

Acquired Situational Narcissism: After her father regains his wealth, Beauty starts to become vain and conceited, losing the compassion that was her defining trait.

Three of the stories, 'The Company of Wolves', 'The Werewolf' and 'Wolf-Alice', were adapted into the 1984 horror/fantasy film The Company of Wolves.

'Wolf-Alice' has elements of ' Beauty and the Beast', ' Little Red Riding Hood' and Alice in Wonderland.

'The Werewolf' and 'The Company of Wolves' are takes on ' Little Red Riding Hood'.

'The Snow-Child' is ' Snow White', minus the dwarfs.

'The Lady in the House of Love' is ' Sleeping Beauty'.

'The Erl-King' is based on the legend of ' The Erl-King'.

'Puss-In-Boots' is a bawdy commedia piece, inspired by ' Puss in Boots'.

Lyon' and 'The Tiger's Bride' are based on ' Beauty and the Beast'.

The title story is a retelling of ' Bluebeard'.

What Carter lays bare are the damaging tropes that were always there in these narratives -you just didn’t see them until now.The Bloody Chamber is a short story anthology by Angela Carter based around the gothic retelling of old fairy tales. It’s less a subversion of childhood favorites than it is the proffering of “adult” eyeglasses. Whereas the traditional forms tend to portray female characters as objects whose sexuality is passive and unspoken-a thing to be won by the prince, but always repressed-Carter’s stories insist on an active and visceral feminine sexuality. Angela Carter addressed this issue in 1979 when she published The Bloody Chamber, a collection of short stories that reimagines many of these texts from a feminist perspective. The problem is that nearly everything in the European fairy tale canon is either obviously or ambiguously misogynistic. You know the ones-Little Red Riding Hood, Sleeping Beauty, Rapunzel and so on. Whether we choose to blame Disney or the broader hegemonic influence of northern and western Europe on culture, there is a set of fairy tales that nearly every American knows by heart despite their issues.

The bloody chamber stories