Discover a collection of fairy tales unlike the ones you've read before . . . Once upon a time, in the middle of winter, a King sat at a window and sewed. As he sewed and gazed out onto the landscape, he pricked his finger with the needle, and three drops of blood fell onto the snow outside. People have been telling fairy tales to their children for hundreds of years. And for almost as long, people have been rewriting those fairy tales - to help their children imagine a world where they are the heroes. Karrie and Jon were reading their child these stories when they hit upon a dilemma, something previous versions of these stories were missing, and so they decided to make one vital change.. They haven't rewritten the stories in this book. They haven't reimagined endings, or reinvented characters. What they have done is switch all the genders. It might not sound like that much of a change, but you'll be dazzled by the world this swap creates - and amazed by the new characters you're about to discover.

What if the fairy tales we all know had protagonists of a different gender? This book takes ten classic stories, five with female leads and five with male and swap the sex of everyone in them. The result is a charming retelling were we can see that anyone can be the protagonist of the story.

Is the gender in a story important? This books tries to answer this question taking ten famous fairy tales, five with female leads and five with male and swapping the gender in them, to learn that men and women are not that different and that anyone can be the protagonist of the story.

Love is a key ingredient in the stereotypical fairy-tale ending in which everyone lives happily ever after. This romantic formula continues to influence contemporary ideas about love and marriage, but it ignores the history of love as an emotion that shapes and is shaped by hierarchies of power including gender, class, education, and social status. This interdisciplinary study questions the idealization of love as the ultimate happy ending by showing how the conteuses, the women writers who dominated the first French fairy-tale vogue in the 1690s, used the fairy-tale genre to critique the power dynamics of courtship and marriage. Their tales do not sit comfortably in the fairy-tale canon as they explore the good, the bad, and the ugly effects of love and marriage on the lives of their heroines. Bronwyn Reddan argues that the conteuses' scripts for love emphasize the importance of gender in determining the "right" way to love in seventeenth-century France. Their version of fairy-tale love is historical and contingent rather than universal and timeless. This conversation about love compels revision of the happily-ever-after narrative and offers incisive commentary on the gendered scripts for the performance of love in courtship and marriage in seventeenth-century France.

Responding to thirty years of feminist fairy-tale scholarship, this book breaks new ground by rethinking important questions, advocating innovative approaches, and introducing woman-centered texts and traditions that have been ignored for too long.

AJ Tipton is a writing team: Annie and Jess (Get it? "AJ"). Based in Brooklyn with the greatest dog in the world as our mascot, we love to create fun romances that astound, amuse and arouse. Our romances are steamy and paranormal, with strong heroes saving the day through extraordinary adventures. Check out our FREE novella, Coaching the Bear, for a taste of what our magical worlds have to offer! We are huge proponents of informed consent, and love to wind cheeky pop culture references into our works. Let us know which ones you catch! Please say hello! You can get in touch with us through: Email: [email protected] Facebook: www.facebook.com/AJTiptonAuthor Twitter: twitter.com/AJTiptonAuthor Blog: ajtiptonauthor.wordpress.com

FAIRYTALES FOR LOST CHILDREN is narrated by people constantly on the verge of self-revelation. These characters - young, gay and lesbian Somalis - must navigate the complexities of family, identity and the immigrant experience as they tumble towards freedom. Set in Kenya, Somalia and South London, these stories are imbued with pathos, passion and linguistic playfulness, marking the arrival of a singular new voice in contemporary fiction. Praise for FAIRYTALES FOR LOST CHILDREN: 'Fantastic writing. I am most highly impressed. I've read some of the stories more than once and saw in each of them plenty of talent everywhere - in every sinew and vein.' - NURUDDIN FARAH 'There is nothing more humbling than good writing except when the author is fiercely beautiful and ferociously generous of heart. That Diriye Osman should possess so much talent is only fair in light of his goodness. Read this book.' - MESHELL NDEGEOCELLO -The characters in these fairy tales are displaced in multiple, complicated ways. But Osman's storytelling creates a shelter for them; a warm place which is both real and imaginary, in which they find political, sexual, and ultimately psychic liberation.' - ALISON BECHDEL 'East Africa. South London. Queer. Displaced. Mentally Ill. My excitement over Osman and his writing comes, in part, out of delight at the impossibility of categorisation.' - ELLAH ALLFREY The Telegraph

Woman as gorgon, woman as temptress: the classical and biblical mythology which has dominated Western thinking defines women in a variety of patriarchally encoded roles. This study addresses the surprising persistence of mythical influence in contemporary fiction. Opening with the question 'what is myth?', the first section provides a wide-ranging review of mythography. It traces how myths have been perceived and interpreted by such commentators as Sigmund Freud, Carl Jung, Bruno Bettelheim, Roland Barthes, Jack Zipes and Marina Warner. This leads to an examination of the role that mythic narrative plays in social and self formation, drawing on the literary, feminist and psychoanalytic theories of Julia Kristeva, Luce Irigaray, Helene Cixous and Judith Butler to delineate the ways in which women's mythos can transcend the limitations of logos and give rise to potent new models for individual and cultural regeneration. In this light, Susan Sellers offers challenging new readings of a wide range of contemporary women's fiction, including works by A. S. Byatt, Angela Carter, Anne Rice, Michele Roberts, Emma Tennant and Fay Weldon. Topics explored include fairy tale as erotic fiction, new religious writing, vampires and gender-bending, mythic mothers, genre fiction, the still-persuasive paradigm of feminine beauty, and the radical potential of comedy.

Much research has been done on the social messages conveyed to children reading or listening to fairy tales. In this highly original study, the emphasis shifts from content to linguistic expression. The language and linguistic organization of a dozen versions, old and new, of the Little Red Riding Hood story are analyzed using a variety of theoretical approaches, including Critical Discourse Analysis, Conversational Analysis, Functional Grammar and Critical Stylistics, to uncover the contribution of fairy tales to the discourse of gender relations over time.

Love is the most powerful magic. In a magical kingdom far away, there lived cursed princes, warrior women, and mighty magic. Handsome and the Beast is a risqué gender swapped retelling of Beauty and the Beast where the heroes have become heroines, the heroines have become heroes, and nothing is as it seems. After beautiful Lady Sophie was cursed by an evil wizard, she became desperate to return to a normal life. But normal is hard to come by for a lady who constantly transforms into a hairy, fanged beast. Heartbroken by countless failures to break the curse, she despairs of finding a lover who can look beyond her beastly appearance and grant her true love's kiss. When the town drunk, stumbles into Sophie's life and offers her son as payment for her trespasses, Sophie can’t help but try one last time. The handsome Quinn has his own problems. After years of abuse at the hands of his mother, he is suddenly sold to a strange woman living in an isolated castle. His new home is as opulent as it is mysterious, and he soon finds himself in a world scarred by magic. Will Quinn pull off a daring escape from his imprisonment? Or will his feelings for Sophie become the key to his true freedom? This gender swapped fairy tale for adults features sexy FFM threesomes, beastly makeovers, and a tale that’s older than time. This STANDALONE novella is part of the "Sexy Gender Swapped Fairy Tale" series which can be read in any order. There are no cliffhangers, and each short ends as it should: happily ever after.