The Bloody Chamber I remember how, that night, I lay awake in the wagon-lit in a tender, delicious ecstasy of excitement, my burning cheek pressed against the impeccable linen of the pillow and the pounding of my heart mimicking that of the great pistons ceaselessly thrusting the train that bore me through the night, away from Paris, away from girlhood, away from the white, enclosed quietude of my mother's apartment, into the unguessable country of marriage. And I remember I tenderly imagined how, at this very moment, my mother would be moving slowly about the narrow bedroom I had left behind for ever, folding up and putting away all my little relics, the tumbled garments I would not need any more, the scores for which there had been no room in my trunks, the concert programmes I'd abandoned; she would linger over this torn ribbon and that faded photograph with all the half-joyous, half-sorrowful emotions of a woman on her daughter's wedding day.
Share via Email Angela Carter. In fact, these are new stories, not re-tellings. She drew a sharp distinction between what she described as "those fragments of epiphanic experience which are the type of the 20th-century story", and the "ornate, unnatural" style and symbolism of her favoured form, the tale.
When, in her second collection, The Bloody Chamber, she continued in this Gothic mode but with narratives suggested by traditional west European fairy tales, she found she had conjured up an exotic new hybrid that would carry her voice to a wider audience than it had reached before.
The Bloody Chamber is like a multifaceted glittering diamond reflecting and refracting a variety of portraits of desire and sexuality - heterosexual female sexuality - which, unusually for the time,are told from a heterosexual female viewpoint.
Angela Carter, 39, had seven novels to her name, none of which had so far received more than marginal recognition. Carter was later to come under attack for not busting more taboos than she did "She could never imagine Cinderella in bed with the Fairy God-mother," wrote Patricia Duncker, for example.
But such criticisms seem wide of the mark.
Her work caused shock waves when it appeared, and it continues to shock. The Bloody Chamber, which has been extensively studied in universities over the past decade, apparently elicits furious hostility from a significant number of students, who are outraged when they recognise the bedtime stories of their childhood newly configured as tales of sex and violence.
But as Carter said, "I was taking Before I had a family and stuff. She admired much science fiction with its utopian perspectives and speculative thinking - "It seemed to me, after reading these writers a lot, that they were writing about ideas, and that was basically what I was trying to do.
And she was using the forms of fantasy and fairy tales with conscious radical intent; in a letter to her friend Robert Coover, she wrote: The stories in The Bloody Chamber reverberate with deep and unmistakable imaginative pleasure.
She loved to describe the trappings of luxury, to display rich scenery in rich language.
Dialogue came less naturally to her and she avoided it for years, joking that the advantage of including animal protagonists in her work was that she did not have to make them talk. Naturalism or realism, the low mimetic as she called it, was not her mode.
Carter was an abstract thinker with an intensely visual imagination. What she liked about the short story form was as she wrote in the Afterword to her first collection Fireworks that "sign and sense can fuse to an extent impossible to achieve among the multiplying ambiguities of an extended narrative".
She found that "though the play of surfaces never ceased to fascinate me, I was not so much exploring them as making abstractions from them". It comes as no surprise to find that she particularly admired Baudelaire and the 19th-century Symbolist poets, and also much 20th-century French surrealist and structuralist writing.
The Bloody Chamber is packed with signs, symbols and signifiers.A darkly erotic reworking of Bluebeard’s Castle, a bawdy Puss in Boots and a sado-masochistic version of Little Red Riding Hood - Angela Carter’s subversive take on traditional fairy stories in The Bloody Chamber is as shocking today as when the collection first appeared in , writes Helen Simpson.
Gothic Comparison on Ian Bank's 'The Wasp Factory' & Angela Carter's 'The Bloody Chamber & Other Stories' study guide by Alexdarn11 includes 20 questions covering vocabulary, terms and more.
Quizlet flashcards, activities and games help you improve your grades. The Bloody Chamber study guide contains a biography of Angela Carter, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
About The Bloody Chamber The Bloody Chamber Summary. In 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 more modern versions of “Little Red Riding Hood.”4/5.
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A "bloody chamber" is present in some form in each of the ten stories, which is perhaps why Carter chose to name the collection The Bloody Chamber.
The bloody chamber takes different forms throughout the book, but serves the same symbolic purpose.