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The Bloody Chamber And Other Stories (Anglais) Broché – 13 juillet 1995


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Descriptions du produit

Revue de presse

"A wonderfully written book, ironical, cerebral, elegant."
—Joyce Carol Oates, The New York Times Book Review

"She writes a prose that lends itself to magnificent set pieces of fastidious sensuality … dreams, myths, fairy tales, metamorphoses, the unruly unconscious, epic journeys, and a highly sensual celebration of sexuality in both its most joyous and darkest manifestations."
—Ian McEwan

"Carter not only switches her narrative into the wholly explicit but turns the passive predicament of the heroine into one in which the convention of female role-playing seems to have no part, only brisk and derisisve common sense, the best feminine tactic in a tight corner. The tales are retold by Angla Carter with all her supple and intoxicating bravura."
The New York Review of Books

"She was, among other things, a quirky, original, and baroque styleist, a trait especially marked in The Bloody Chamber – her vocabulary a mix of finely tuned phrase, luscious adjective, witty aphorism, and hearty, up-theirs vulgarity."
—Margaret Atwood, The Observer
--Ce texte fait référence à l'édition Broché .

Présentation de l'éditeur

WITH AN INTRODUCTION BY HELEN SIMPSON

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.



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Détails sur le produit

  • Broché: 176 pages
  • Editeur : Vintage Classics; Édition : New Ed (13 juillet 1995)
  • Collection : Vintage Magic
  • Langue : Anglais
  • ISBN-10: 0099588110
  • ISBN-13: 978-0099588115
  • Dimensions du produit: 12,9 x 1,2 x 19,8 cm
  • Moyenne des commentaires client : 3.8 étoiles sur 5  Voir tous les commentaires (4 commentaires client)
  • Classement des meilleures ventes d'Amazon: 6.094 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Par killjoyce sur 11 mars 2010
Format: Broché
Angela Carter propose une version subversive parce qu'explicite des contes de Perrault, mais en aucun cas dévoyée. L'écriture est magnifique, la crudité du langage, la violence qui en émane et l'univers de conté de fée avec qui plus est, la préconnaissance des contes en font une œuvre onirique puissante et magique. On en redemande !
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Par Jyb sur 1 juin 2013
Format: Broché Achat vérifié
SI vous aimé les contes froids et ambigus écrits dans une langues riche, baroque, vous serez servis.
Angela Carter réinvente les grands classiques du conte :le petit chaperon rouge, barbe-bleue, le chat botté, la belle et la bête...
et les contes n'ont pas été écrits pour les enfants!
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0 internautes sur 1 ont trouvé ce commentaire utile  Par C Z H sur 27 août 2014
Format: Broché Achat vérifié
J'ai aimé le premier conte "remanié" par Carter, mais au fil du recueil il m'a semblé que certaines des techniques étaient un peu répétitives, et à la longue la surprise s'émousse un peu. Si on prend les contes un par un il y a néanmoins des symboles intéressants. C'est un recueil divertissant qui propose un autre éclairage sur les contes de fée et une subversion intéressante des schémas traditionnels.
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0 internautes sur 1 ont trouvé ce commentaire utile  Par Dom sur 28 septembre 2014
Format: Broché
Déçue car je m'attendais à une réécriture subtile des contes et je les ai trouvés assez inégaux: je ne suis pas rentrée dans ce livre même si je l'ai terminé .
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Amazon.com: 69 commentaires
87 internautes sur 88 ont trouvé ce commentaire utile 
Rich, unexpected revisions of old stories... 20 octobre 1999
Par Un client - Publié sur Amazon.com
Format: Broché
On hearing that the writing style of Tanith Lee, one of my favorite authors, had derived in part from that of Angela Carter, I hastened to find a good collection and explore the similarities. I read this book, and while I am not going to compare and contrast the two styles, I am going to rave about Angela Carter. In the collection "The Bloody Chamber" she reworks five familiar fairy tales as well as spinning myriad tales from the werewolf theme and a tragic love-story out of the vampire myth. Each of the stories has its own unique perspective that works both as a stylistic trick and as a function of the story, such as having Puss-in-Boots proudly recount his own exploits, or having Beauty lost to the Beast at a game of cards. The stories are written sensually, reveling in their lush usage of language; the opening of "The Erl-King" smells of rotted leaves in October, "The Lady of the House of Love" casts haunted shadows at the reader's feet. One or two read like deconstructions of familiar tales, such as the surreal "The Snow Child" or "The Werewolf," while others are the old stories, stripped to their framework and then refleshed with Angela Carter's rich prose. All are absorbing, seductive, to read; if words are food, then this is highly caloric chocolate of the finest quality. (The bittersweet tint only adds to the flavor.) Enough of my raving; read the book yourself. For my part, I will be scouring my library for more of Angela Carter's work. You can never get enough chocolate.
34 internautes sur 36 ont trouvé ce commentaire utile 
Tales as rich as blood red roses 13 février 2001
Par "villette" - Publié sur Amazon.com
Format: Broché
"The Bloody Chamber" is a work of literature which transcends genre and unearths the thinly veiled erotic elements of the fairy tale form. Each of the ten stories in this collection are as rich and sensuous as red velvet, it is quite possible to open the book at any page and find yourself immersed in the beauty of the prose. Highlights include the eponymous novella "The Bloody Chamber" (Carter's subversive re-telling of the "Bluebeard" story) and "The Lady of the House of Love", which illuminates the notion of a decaying European aristocracy behind the myth of the vampire.
Carter presents us with two contrasting (yet not conflicting) versions of the "Beauty and the Beast" story with "The Courtship of Mr Lyon" and "The Tiger's Bride". In the former, the fierce nature of the beast is curbed by the gentleness of the female protagonist, whilst in the latter, the heroine discovers the liberating power of the repressed animal aspect of her sexuality. Each story has a feminist flavour, exploring both male and female sexual desire, and the darker domains of eroticism. A book which will increasingly be hailed as a masterpiece in years to come.
55 internautes sur 61 ont trouvé ce commentaire utile 
Quirky, disarming, witty, sexy -- magic realism at its best! 16 septembre 2000
Par CoffeeGurl - Publié sur Amazon.com
Format: Broché
Do you have the courage to enter Angela Carter's quirky realm of magical realism? She is brilliant. BRILLIANT! I love these short stories -- or rather, fairy tales that everyone is familiar with. The stories have very familiar themes, like tragic love stories, werewolf stories and Cinderella-like stories. Of course, Angela added her own ingredients in the stories. There are a lot of elements of sex and a large dosage of magical realism. They are so mind-boggling disturbing that I found myself thinking about them long after I finished reading them. My favorites are "The Lady of the House of Love," "The Snow Child," and "The Werewolf." I marvel at Carter's imagination. She is truly gifted. Her writing style sort of reminds me of Amanda Filipacchi -- a brilliant French novelist. In fact, I wonder if Carter influenced Filipacchi's work. I highly recommend The Bloody Chamber. This isn't for the faint at heart; this is dark literature at its finest!
12 internautes sur 12 ont trouvé ce commentaire utile 
Erotic, Intelligent, Adult Fairy Tales 9 mai 2005
Par C. Donaghy - Publié sur Amazon.com
Format: Broché
In Angela Carter's The Bloody Chamber and Other Stories, the author re-creates the fairy tales of old, melding them into feminist tales of love, loss, lust, and sexuality. While her stories find their genesis in the childlike versions of Sleeping Beauty, Little Red Riding Hood, Snow White, and others, Ms. Carter transforms these fantastical stories into adult renditions where vampires prey on virgins, where children lie down with wolves, and a Count "thrust his virile member into the dead girl". In each of these stories, Ms. Carter creates an unexpected, erotic feel which is intertwined with mystery and an adult edginess that goes far beyond the original versions of these fairy tales. She also is very adept at giving the reader just the right amount of clues, never being too obvious, and respecting her reader's intelligence in unraveling the webs she weaves with these stories. Ms. Carter additionally has an ability to take what could be mundane aspects of her stories and infuse them with richness which keeps the reader involved in the story, compelling them to read on. Finally, Angela Carter is a master of symbolism: the young officer in The Lady of the House of Love as the true measure of life and freedom, the kiss in The Company of Wolves as the conquest of men, the clothing in The Snow Child as a representation of power. In every story within the pages of The Bloody Chamber and Other Stories Angela Carter's brilliance come through, and her readers are rewarded with lush, rich, compelling, adult stories of adventures born from our childhood fairy tales.
9 internautes sur 9 ont trouvé ce commentaire utile 
"Nothing Human Lives Here..." 13 mai 2009
Par R. M. Fisher - Publié sur Amazon.com
Format: Broché
According to the introduction by Helen Simpson in my copy of Angela Carter's "The Bloody Chamber," the author herself is adverse to the description of this anthology as "retold, adult fairytales." Instead she claims that: "my intention was not to do "versions"...but to extract the latent content from the traditional stories and to use it as the beginnings of new stories."

That is as may be, but the truth is that the simplest way to describe "The Bloody Chamber" is to say that it is a collection of reworked fairytales geared toward adult readership. Ten in all, each one is based on an old fairytale, and Carter explores her own personal ideas and understanding of these familiar stories in her "new stories;" being particularly concerned with the metaphorical meanings that are inherent in each one.

Perhaps the best way to describe them is to say that they have echoes of the old symbolism and imagery of the old tales, but act as "remakings" rather than "retellings." As such, what is gathered here is a series of stories that delve into themes of sexuality, femininity, mutability, transformation and the capability of humankind for change and growth. It is not for the faint-of-heart reader, for often these stories can be violent, crude or grotesque. At their core, all fairytales are about two things: life and death, and in "The Bloody Chamber" they are transposed and presented as sex and violence.

Yet there is an hypnotic quality to them in their atmosphere and resonance that kept me hooked (and certainly leaves room for multiple re-reads).

Carter's language is opulent, rich, sensual and complex. That sentence is a preview of what you'll find in this book, as Carter seems to adhere to the general rule that no noun must go without an adjective - or several. Yet it never seems to tip into purple prose, not even when she's comparing water-stains on the dark red wallpaper to the indentations left by lovers on black satin sheets. (Of course, if any of that just made your eyes hurt, then it's certainly best to give "The Bloody Chamber" a miss).

Yet it didn't bother me at all: perhaps it was Carter's mastery of language, or the fact that sensory pleasures are such an important part of the narratives, or perhaps such dense prose just works better in short-story form. Like eating dark chocolate or drinking red wine: you can't have too much of it, but it works extremely well in small doses.

Exploring these stories on your own makes up most of the enjoyment of the book, so I won't give too much away in regards to the content of the stories. However, they range in length from the almost-novella size of the titular story "The Bloody Chamber", based on the story of Bluebeard and his murdered wives, to the page-long "The Snow Child", a sort-of inverse version of Snow White in which the maiden is born out of her father's desire as opposed to her mother's.

There are the comparable "The Courtship of Mr Lyon" and "The Tiger's Bride," both of which are based on Beauty and the Beast, and both providing alternative versions of the final metamorphosis scene for your consideration. These are followed by the only truly comedic effort in the collection, "Puss-in-Boots", narrated by the cat himself in raucous, witty prose as he helps his master win a lady's heart. If a cat could talk, it would sound like this, and he has some rather wonderful gems of wisdom to share: "All good women have a missionary streak, sir; convince her that her orifice is your salvation and she's yours."

"The Erl-King" and "The Lady of the House of Love" are stories centered around a mystical, powerful character; male in the former and female in the latter. Both are based not so much on fairytales as they are on the Germanic/Romanian legends of dark elves and vampires. As Helen Simpson puts it, in each story: "lovers are lethal, traditional romantic patterns kill, and sex leads to death."

Finally there is a "trilogy" of sorts that ends the collection: "The Werewolf," "The Company of Wolves," and "Wolf-Alice," which deals with (obviously) the legend of the werewolf and the fairytale of Little Red Riding Hood. They give us three very different and intriguing points-of-view as to the nature of this particular creature, based around the archetypal figures of the wolf, the old woman, and the child. Incidentally, The Company of Wolves was adapted into a rather fascinating film that is also recommended to those who enjoy this collection.

One thing that does emerge very clearly from these stories is the subversive role of women in breaking their traditional fairytale forms. No longer passive objects of desire, they here become self-knowledgable saviours or furious harbingers of justice. And yet even then these subversions are surprising in the way they unfold. In such cases, saving someone can be an act of violence, and terrible vengeance can be construed as a merciful act.

In short: this is an anthology of intriguing, thought-provoking stories that invokes the landscapes and imagery of fairytales, a healthy dose of Gothic sensibilities and Carter's own brand of morbid beauty. I'd certainly recommend it, for though it is certainly not for everyone, it should be reasonably obvious from the outset as to whether these grim, dark fairytales would appeal to you or not.
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