	Many would argue that you can’t successfully write a feminist Beauty and the Beast story, especially one that was truly geared for adult women.  Angela Carter proved those people wrong with both “The Courtship of Mr. Lyon” and “The Tiger’s Bride”.  In these two stories, there are a woman doing the pursuing, creepy nicknames from father to daughter, melting earrings, a father selling his daughter, a father losing his daughter in a card game, and people who may be tigers.  In her deconstructive re-reading and re-writing of fairy tales, it could be the author felt obligated to emphasize the violence that accompanied the beauty in gender and sexual constructions. The changes that she made to these stories when The Bloody Chamber was first published in 1979 simply go to show that Carter was light years ahead of her contemporaries, and still ahead of a good bit of the curve in 2017.  Her reimaging of “The Courtship of Mr. Lyon” and “The Tiger's Bride”, didn’t allow Beauty a chance to tame the Beast, but rather, first, to illustrate that both interpretations of the story are fraudulent pretenses for any type of stability and that going about things in a song and dance way artificially stereotypes the characters, which cheapens things for everyone involved. 
	The concept of a self-rescuing princess is not new.  It is, however, a concept that makes sense, especially in the world of The Bloody Chamber.  Angela Carter showed us how to be one when she wrote the book.  She thought that fairy tales should be more feminist, with the females being able to be violent and there to be sexual scenes.  These didn’t exist to her satisfaction, so she wrote them.
