“Grab a fan, because the teen hormones are raging, in full, intimate detail! Red August by H.L. Brooks is not your childhood fairytale come to life, but rather a contemporary version starring an older Red, caught between womanhood and childhood. Filled with wonderfully quirky and kind secondary characters, a feisty grandmother, an ancient feud, death, misunderstandings and a cameo appearance by the Woodsman, H.L. Brooks has taken May-December romances to an entirely new level…”
Find places to order Red August HERE
In going through twitter and Instagram promoting my version of Little Red Riding Hood, I’ve come across many others. I thought I would do a few blog entries to provide links to them. If ever finish editing my book and have time to READ a book, I’ll have a handy list of Red Riding Hood adaptations. I’m not specifically recommending any of them, I’m just providing the list.
Let’s kick this post off with a link to National Geographic’s article about the varied origins of Little Red Riding Hood.
Just click on the covers to go to the websites.
Lookie what has come to a local (for me) bookseller! Daedalus always has great prices on books – I mean, you can get every gift you need for an entire year at this place, but I am pretty excited about this bad boy. This shall soon be mine!
Here is the blurb from the Daedalus site:
A storytelling sorceress, Angela Carter has often been named as a literary godmother to Neil Gaiman, David Mitchell, Audrey Niffenegger, J.K. Rowling, Kelly Link, and other masters of supernatural fiction. Along with her James Tait Black Memorial Prize–winning novel Nights at the Circus, she is most often recognized for this pivotal collection of stories, from 1979. The Bloody Chamber mines some of our most enduring fairy tales—”Red Riding Hood,” “Beauty and the Beast,” “Puss-in-Boots,” and “Bluebeard” among them—and includes the story that inspired Neil Jordan’s 1984 film of the same name, “The Company of Wolves.” Carter extracts hidden themes and parts of the tales that went untold, giving them new life in a gorgeous prose style steeped in the romantic trappings of the gothic tradition. “Since I first came across The Bloody Chamber, I have kept a copy with me wherever I have been living,” writes Link in her introduction. “Reading Carter, each time, was electrifying. It lit up the readerly brain and all the writerly nerves…. The girls and women in The Bloody Chamber remake the rules of the stories they find themselves in with their boldness. And Angela Carter, too was bold. I have tried to learn that lesson from her.” This handsome trade paperback edition celebrates what would have been the tragically short-lived author’s 75th anniversary.
“Sex isn’t a subtext in The Bloody Chamber, but the text itself…. Carter produced … fiction that was lavishly fabulist and infinitely playful…. Salman Rushdie, who became her friend, described her as ‘the first great writer I ever met.’ Yet her legacy has been a slow and stealthy one, invisible to many of the readers who have benefited from it…. Most contemporary literary fiction with a touch of magic, from Karen Russell’s to Helen Oyeyemi’s, owes something to Angela Carter’s trail-blazing.”—Salon
“She was, among other things, a quirky, original, and baroque stylist, 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