This study offers a theory for feminist intertextuality based on strategies at work in rewritings of the Bluebeard fairy tale. The book asserts that feminist intertextuality revises one coercive intertext in particular: that of intertextuality theory itself. Rewritings of the fairy tale accordingly can be seen to privilege either the embedded narrative or the escape from it, subscribing either to monologic or dialogic intertextuality. The work examines the original Bluebeard tale group (Perrault, Grimm, variants); historical and modern Bluebeards; and other writers, including Jane Austen, William Godwin, Margaret Atwood, John Fowles, Peter Ackroyd, Kurt Vonnegut, Angela Carter, Gloria Naylor, Emma Cave, Max Frisch, Stephen King, Meira Cook and Donald Barthelme.
Introduction: feminist intertextuality; the Bluebeard Tale group (Perralt, Grimm, variants); historical Bluebeards - Commorre the Accursed, Gille de Rais, Henry VIII; modern Bluebeards - Henri Landru; Gufler, Gein and Watson; Lady Bluebeards; Bluebeard's castle as text (Stephen King's "The Shining"; story as two intertextual models; presupposition; feminist intertextuality. Part 1 The haunted text - Gothic presuppositions: William Godwin's "Caleb Williams", Jane Austen's "Northanger Abbey"). Part 2 Buried secrets - the mise en abysme: John Fowles's "The Collector"; Peter Ackroyd's "Dan Leno and the Limehouse Golem"; Kurt Vonnegut's "Bluebeard"; Angela Carter's "The Magic Toyshop" and "Nights at the Circus"; Gloria Naylor's "Linden Hills". Part 3 Murder in the dark - the textual mise en scene: Margaret Atwood's "The Robber Bride" and "Bluebeard's Egg"; Emma Cave's "Bluebeard's Room"; Max Frisch's "Bluebeard - A Tale"; Donald Barthelme's "Bluebeard"; Meira Cook's "Instructions for Navigating the Labyrinth".