Produktdetaljer
Biografisk notat
Angela Carter was born in 1940 and read English at Bristol University, before spending two years living in Japan. She lived and worked extensively in the United States and Australia. Her first novel, Shadow Dance, was published in 1965, followed by the Magic Toyshop in 1967, which went on to win the John Llewellyn Rhys Prize. She wrote a further four novels, together with three collections of Short Stories, two works of non-fiction and a volume of collected writings. Angela Carter died in 1992.Fairy tales reimagined for feminist times
Grazia
She was, among other things, a quirky, original, and baroque stylist, a trait especially marked in <i>The Bloody Chamber - </i>her vocabulary a mix of finely tuned phrase, luscious adjective, witty aphorism, and hearty, up-theirs vulgarity
- Margaret Atwood, Observer
Magnificent set pieces of fastidious sensuality
- Ian McEwan,
She can glide from ancient to modern, from darkness to luminosity, from depravity to comedy without any hint of strain and without losing the elusive power of the original tales
The Times
<i>The Bloody Chamber</i> is such an important book to me. Angela Carter, for me, is still the one who said: ‘You see these fairy stories, these things that are sitting at the back of the nursery shelves? Actually, each one of them is a loaded gun. Each of them is a bomb. Watch: if you turn it right it will blow up.’ And we all went: ‘Oh my gosh, she’s right—you can blow things up with these!’
- Neil Gaiman, Daily Telegraph
A wonderfully written book, ironical, cerebral, elegant . . . distinguished by bold, inflected language and ornate, indeed often bloody, imagery
- Joyce Carol Oates, New York Times Book Review
<i>The Bloody Chamber</i>'s interweaving of retold fairy tales demonstrates Angela Carter's narrative gift at its most mocking and seductive
Observer
Magnificent set pieces of fastidious sensuality
Angela Carter has extended the life and richness of the fable form itself partly through language that is both pellucid and sensual, but chiefly through imagination of such Ariel reach that she can glide from ancient to modern, from darkness to luminosity, from depravity to comedy without any hint of strain and without losing the elusive power of the original tales
The Times
<i>The Bloody Chamber</i>'s interweaving of retold fairy tales demonstrates Angela Carter's narrative gift at its most mocking and seductive
Observer
Discover Angela Carter's classic feminist retelling of favourite fairy tales woven in seductive, luminous storytelling.
Beauty is turned into a Beast, Little Red Riding’s grandmother is stoned to death as a witch and, in the title story, a beautiful young pianist is swept into the world of a rich and sinister aristocrat, a man whose previous three wives have all died in mysterious circumstances.
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.
'Magnificent set pieces of fastidious sensuality' Ian McEwan
'A quirky, original, and baroque stylist' Margaret Atwood
With an introduction from award-winning short story writer Helen Simpson