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proliferation of old, often rich, men married to younger wives or the constant jokes about men trading in their wives “for a younger model” to see that this ideology is still very much prevalent in our society. By equating this desire for young women with the monstrousness of Bluebeard, feminist writers are able to use fairy tales as a mode to expose this kind of thinking for the misogyny that it is. In this way, fairy tales offer a relative safe method to explore concepts that might not be as well received in other works. Feminist revision also offers writers and audiences the chance to confront aspects of the original tale that might be tasteless or often harmful. An example of this, is the way “Bluebeard” is commonly interpreted as being an “Orientalized” villain opposite of a young, white wife. Examples of this can be found in the variety of illustrations about the “Bluebeard” tale, where Bluebeard is often depicted wearing robes and a turban, while his wife’s outfit more resembles that of the European gentry. 22 Carter is guilty of continuing this trend in “The Bloody Chamber.” 23 Intersectional revision, such as what happens in “The Glass Bottle Trick,” allows authors to adopt these harmful themes and subvert them. Hopkinson’s explicit racialization of her Bluebeard character, Samuel as a black man was able to both limit the potential for further harm and provide a motivation for her villain that the original and all of the other retellings seemed to lack. 24 Feminist revision also allows Oates to confront the idea put forth by Perrault in his morals, that women are naturally curious and that this leads to horrible things happening to them. By not having her wife open the door to the forbidden chamber, even though she is given the key, Oates’s character is in some way able to overcome her husband and keep her life, his wealth and the power that no 22 For a small selection of examples of these illustrations, see Tatar, Secrets beyond the Door. 23 See Roemer, “The Contextualization of the Marquis,” 95-115 for further reading on this topic. 24 Samuel’s motivation in the “The Glass Bottle Trick” for killing his wives was due to their pregnancies, because he could not tolerate the thought of his skin color being passed on to his children. doubt comes from her status as a noblewoman. The wife character in “Blue-Bearded Lover” uses her obedience to exhibit other characteristics that Perrault would probably think of as unladylike, such as cunning, calculation and trickery. These might not necessarily be positive traits, but they do afford the wife more of a complex character, beyond merely being disobedient and, as a result, stumbling upon something she does not wish to know. Other authors will no doubt find a variety of different uses for the feminist revision of fairy tales, but of those focused on in this essay, we are able to identify a few key uses. To start thinking about the work this feminist revision does, it is important to consider how all of the retellings contribute to a reading of the original and to each other. Once we could understand this, we were able to identify a small selection of objectives, stemming from the feminist revision of fairy tales, including: the expansion of readership for both the story being retold and the story that is doing the retelling, and in turn expanding and interrogating the literary canon; using fairy tales as a mode to confront real world dangers, like racism, colorism, and misogyny; as well as being able to revise unsavory or prejudiced aspects of the original tale. This is by no means anything close to an exhaustive list. There are probably many more ways that feminism might influence how a fairy tale is revised and I look forward to reading each of them. With more than three hundred years separating Perrault and Hopkinson, we would no doubt be expecting to find a number of differences between “Bluebeard” and “The Glass Bottle Trick.” The reality of intersectional feminism makes these changes even more pronounced and calls our attention to the necessity of intersectional feminism in fairy tale revisions. It is not enough to merely revise a story in a feminist way, but instead we must look at what these revisions end up doing in order to continue the process of making better, more intersectional revisions and scholarship in the future. While there is no doubt a plethora of different work feminist revision could do depending on the way it is presented, as it stands there DEPAUL UNIVERSITY 143
are three readily identifiable aspects to revision of the “Bluebeard” fairy tale. Firstly, feminist revision creates a mutually beneficial way to reach new audiences. People interested in the work of one particular writer are exposed to new fairy tales, and people primarily interested in fairy tales get the benefit of reading works from a new author. Secondly, feminist fairy tale revision allows writers to engage with difficult real world subjects, like racism and sexism, in a realm of fantasy. Fairy tales are a relatively neutral setting for articulating new ways of thinking about harmful material, when compared to journal articles and nonfiction stories. Lastly, feminist revision also allows authors to interact with aspects of the tale that they may seem as harmful, like the racist depictions of Bluebeard as “oriental” in order to contrast to his innocent, white bride. It has been my hope that by comparing Hopkinson to other revisions of “Bluebeard” and by highlighting the changes that she has made to this tale, we can begin to see the importance of including intersectional feminism into our own fairy tale revisions and into the way we participate in feminist fairy tale scholarship. 144 CREATING KNOWLEDGE
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D E PAUL UNIVERSITY Creating Knowle
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2016 EDITOR Warren C. Schultz ART J
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86 Amy Reece Outrages on the Women
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FOREWORD Dear Students, Colleagues,
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articles written by African-America
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