The most notable is Grace, Philippe’s sister. There are a handful of new characters, each more interesting than the last. The combination of those two changes would be enough to throw the story off its a xi s and create something new and interesting, but Jones d oes n’t stop there. But Philippe learn s no lessons from his curse, and remains an unpleasant person, never mind his looks. Then w e have a nobleman (Philippe du Fortigny) cursed with a beastly form after insulting and angering one of the Fee (fairy-like beings), whose curse can only be lifted by love freely given and returned. But this beauty is aromantic (probably asexual, too, but this isn’t the kind of story to make that distinction), which immediately makes for an interesting shift in dynamic. We have the dutiful daughter (Alys Levesque) who takes her father’s place in an enchanted manor, after he steals a rose from the residents. We start off with the bare bones of Beauty and the Beast. She keeps the b asic fact of the story, but by adding characters and shifting established motivations, she makes something entirely new. I n The Language of Roses, Heather Rose Jones takes an entirely different tactic with the story of Beauty and the Beast. You can go post-modern, and make some or all of the characters genre-savvy (always a personal favorite of mine). You can move it to a different time or place. There are many ways to fracture a fairy tale.
0 Comments
Leave a Reply. |