‘The Lady of the House of Love’ by Angela Carter 

I read this when I was fourteen and it blew my mind. The writing felt wonderfully overwrought and iconoclastic. It’s a meet-not-cute (a meet-mute?) haunted by the carnal realities of decrepitude and fucking. Peak Carter: bawdy and romantic, gritty and baroque. I can picture it as a cinematic cross between a Luis Bunuel and Sofia Coppola film. Crumbling Tarot cards, a rose the colour of dried-up menstrual blood.

First published in The Iowa Review, Summer/Autumn 1975, and available online here in slightly different form. Collected in The Bloody Chamber, Gollancz, 1979, currently available from Vintage, 1995, and in Burning Your Boats: Collected Stories, Vintage, 1996.

‘The Company of Wolves’ by Angela Carter

Before Jeanette Winterson there was Angela Carter, whose work is more wide-ranging, less egotistical, more magical. For too many years fairy stories have been Disneyed down, infantilised. Here the tales are not only reclaimed for adults but also transformed into narratives where females have agency. This is a variant of the Red Riding Hood story but the heroine is no child victim. “She has her knife and she is afraid of nothing.” She is “nobody’s meat”. Happiness is to be found in grandmother’s bed, even though it’s unclear if the woman and her wolf-lover will live happily ever after.

First published in Bananas, 1977. Collected in The Bloody Chamber, Gollancz, 1979, currently available from Vintage, 1995, and in Burning Your Boats: Collected Stories, Vintage, 1996

‘The Snow Child’ by Angela Carter

When I was very young – probably too young – my Mum used to read me Grimms’ Fairytales as a treat, and I was transfixed by them, utterly repulsed and delighted. All the things I hadn’t really felt again from stories until I read Angela Carter. Her work is a gift, on repeat, and I’ll never tire of it. It’s not surprising that the story I’ve chosen is a retelling of the Grimms’ of the same name, and that its significant detail change that makes Carter’s last in the memory. The man calls The Snow Child into being, instead of the woman.

He creates his perfect women, with his actual flesh and bones wife right there next to him.

Angela Carter does so many things so well, but for me, it’s the physicality of the women in her stories that grab me. They inhabit their bodies from the inside out and I found that startling and overwhelming when I was sixteen, that they could appear fully formed and bloody, not just peered at with clean or structured desire.

AND YET, this story shows women as that exactly, clean and structured, a man’s-eye view, conjured and controlled by the Count, to his tastes. The way it’s done, though, doesn’t collude with him, it smashes him to bits, and laughs at him, but is always aware of how dangerous it is, the laughing. It may be short, but this story manages to pick apart, build, laugh and destroy so many things at once. The Count’s sexuality is ridiculous and terrifying. The women he desires are dead or a scatter of objects, a series of two-dismensional photographs framed by his eyes. It, like everything Carter wrote, is spectacular.

(There’s something about the black fox furs jumping from the Countess’ shoulders onto the girl’s that has stuck with me, since that day in 1993 when I first read it, and, as an aside I’m still, all these years later, longing for a pair of high, black, shining boots with scarlet heels, and spurs. When I have a pair of these, I will know I’ve made it.)

From The Bloody Chamber, first published in 1979 by Gollancz. Now Vintage Classics.

‘The Erl King’ by Angela Carter

I include this because it’s a story that gave me one of those heart-stopping moments, falling in love, aching with envy, resolving to try and keep trying to write. I also once used it in an exercise on a writing course, where I had to compare the qualities – literal and metaphorical – of a story I admired with one of my own. Depressing, but instructive. The Erl-King is the bad-boy type you’re not supposed to fall for, and are therefore seduced by – after all, he does have goat’s cheese, wild mushrooms and rabbit stew in his one-room woodland hut. He also has cages full of birds, a metaphor too heavy for most writers to handle but one Carter whisks into this plum pudding of a story with ease, probably with a cigarette in the other hand. Reading this is a feast, of a kind that nobody can now reproduce. Carter’s brew transcends fashions in fiction, and thank goodness; this is an antidote to minimalism should you ever need one, but most glorious when read on its own luscious terms.

In Burning Your Boats, Vintage, 1996; first published in The Bloody Chamber, Gollancz, 1979

‘The Erl-King’ by Angela Carter

The Bloody Chamber is one of my favourite collections, and plays a key part in what I hope will be my next published novel. All the stories are deliciously rich in symbolism, sensual language and allusions to fairy tales. ‘The Erl-King’, a retelling of a Scandinavian legend about a sinister forest spirit who lures a young woman into his woodland dwelling, is my favourite. Carter’s descriptions are as lush and detailed as mediaeval tapestries: “There was a little tangled mist in the thickets, mimicking the tufts of old man’s beard that flossed the lower branches of the trees and bushes, heavy branches of red berries as ripe and delicious as goblin or enchanted fruit hung on the hawthorns… One by one, the ferns have curled up their hundred eyes and curled back into the earth. The trees threaded a cat’s cradle of half-stripped branches over me…”

The Erl-King is both frightening and alluring, and there are some wonderfully spooky passages, including this, which has, for me, the chill of infinity: ‘I walked through the wood until all its perspectives converged upon a darkening clearing; as soon as I saw them, I knew at once that all its occupants had been waiting for me from the moment I first stepped into the wood, with the endless patience of wild things, who have all the time in the world’. That ‘endless patience’ is so sinister.

(from The Bloody Chamber and Other Stories,Vintage Books, 2006, first published 1979)

‘The Bloody Chamber’ by Angela Carter

Surely the greatest ‘Fuck yeah!’ moment in all short fiction, I cannot read this story without getting totally and breathlessly sucked in, turning the pages in horror even though I have read it so many times, getting to my feet as the gallant mother gallops across the surging waves, her white hair wild behind her. At the climax of the story, she describes everything stopping ‘like a clockwork tableaux in a glass case’ before action recommences, ‘as though a curious child pushed his centime into the slot and set it all in motion’. Carter herself is the curious child with the centime in the slot and this story is her at her indomitable best. In redefining our bloodiest myths, she inadvertently creates new myths for the psychotherapy generation: that your happiness, like that of the young protagonist, depends on a lover that unconditionally ‘sees’ you and a mother who telepathically ‘knows’ you.

In The Bloody Chamber (Gollancz, 1979)

‘The Courtship of Mr Lyon’ by Angela Carter

‘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.