‘It seemed December still possessed his garden. The ground was hard as iron, the skirts of the dark cypress moved on the chill wind with a mournful rustle and there were no green shoots on the roses as if, this year, they would not bloom. And not one light in any of the windows, only, in the topmost attic, the faintest smear of radiance on a pane, the thin ghost of a light on the verge of extinction’.
Not strictly a Christmas story, but for some reason fairy tales seem to have more resonance at this time of year. Angela Carter’s clever, sensual update of 18th-century French classic ‘La Belle et La Bête’ from her 1979 collection The Bloody Chamber owes more to its (female) originators and popularisers than to any Disney adaptation. The story of the merchant (in Carter’s version, a debt-laden lawyer with a broken-down car) who steals the single white rose he promised his daughter from a mysterious wintry garden, incurring the wrath of its leonine owner, and a forfeit – a reluctant agreement that Beauty will become the companion of the Beast – has several troubling interpretations. In Carter’s hands, Beauty, rather than simply being a chattel of her father, responds to the strange, enchanted world of the dignified and passionate Beast and discovers her own emotional and sexual awakening in the process.
First published in The Bloody Chamber and other Stories, 1979. Also available in Burning Your Boats, Carter’s collected stories, Vintage Chatto & Windus, 1995. Chosen by Catherine Taylor.