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AbstractHistoryArchive Description
'Juniper, living deep in the forest with her parents, is stunned to discover that the beautiful girl living isolated in a nearby tower is her sister. When the two girls meet, what begins as a fascination and a friendship ultimately develops into something truly sinister.
'A story of jealousy, passion and power, Beauty's Sister is a dark and gripping reimagining of one of our oldest tales, Rapunzel, from acclaimed novelist James Bradley.' (From the publisher's website.)
Notes
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'A compelling reimagining of the story of Repunzel by one of our best novelists. - Front cover.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Strategic, Stylistic and Notional Intertextuality : Fairy Tales in Contemporary Australian Fiction
2018
single work
criticism
— Appears in: TEXT Special Issue Website Series , no. 43 2018;'While Canadian scholar Lisa M Fiander argues that fairy tales are ‘everywhere’ in Australian fiction, this paper questions that assertion. It considers what it means for a fairy tale to be ‘in’ a work of contemporary fiction, and posits a classificatory system based on the vocabulary of contemporary music scholarship where a distinction is made between intertextuality that is stylistic and that which is strategic. Stylistic intertextuality is the adoption of features of a style or genre without reference to specific examples, while strategic intertexuality references specific prior works.
'Two distinct approaches to strategic fairy-tale revision have emerged in Australian writing in recent decades. One approach, exemplified in works by writers including Kate Forsyth, Margo Lanagan and Juliet Marillier, leans towards the retelling of European fairy tales. Examples include Forsyth’s The Beast’s garden (‘Beauty and the Beast’), Lanagan’s Tender morsels (‘Snow White and Rose Red’) and Marillier’s short story ‘By bone-light’ (‘Vasilisa the Beautiful’). The other, more fractured, approach is exemplified in works by writers including Carmel Bird and Murray Bail, which do not retell fairy tales but instead echo them and allude to them.
'This paper proposes that recent Australian works that retell fairy tales are less likely to be set in a recognisably Australian context than are works which take a more fractured approach to fairy tale. It also explores the notion that, presently, transporting European fairy tales, whole, into an Australian setting, seems to be a troubling proposition for writers in a post-colonial settler society that is highly sensitised to, but still largely in denial about, its colonial past.' (Publication abstract)
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Strategic, Stylistic and Notional Intertextuality : Fairy Tales in Contemporary Australian Fiction
2018
single work
criticism
— Appears in: TEXT Special Issue Website Series , no. 43 2018;'While Canadian scholar Lisa M Fiander argues that fairy tales are ‘everywhere’ in Australian fiction, this paper questions that assertion. It considers what it means for a fairy tale to be ‘in’ a work of contemporary fiction, and posits a classificatory system based on the vocabulary of contemporary music scholarship where a distinction is made between intertextuality that is stylistic and that which is strategic. Stylistic intertextuality is the adoption of features of a style or genre without reference to specific examples, while strategic intertexuality references specific prior works.
'Two distinct approaches to strategic fairy-tale revision have emerged in Australian writing in recent decades. One approach, exemplified in works by writers including Kate Forsyth, Margo Lanagan and Juliet Marillier, leans towards the retelling of European fairy tales. Examples include Forsyth’s The Beast’s garden (‘Beauty and the Beast’), Lanagan’s Tender morsels (‘Snow White and Rose Red’) and Marillier’s short story ‘By bone-light’ (‘Vasilisa the Beautiful’). The other, more fractured, approach is exemplified in works by writers including Carmel Bird and Murray Bail, which do not retell fairy tales but instead echo them and allude to them.
'This paper proposes that recent Australian works that retell fairy tales are less likely to be set in a recognisably Australian context than are works which take a more fractured approach to fairy tale. It also explores the notion that, presently, transporting European fairy tales, whole, into an Australian setting, seems to be a troubling proposition for writers in a post-colonial settler society that is highly sensitised to, but still largely in denial about, its colonial past.' (Publication abstract)
