Girls who run with the wolves
aren’t here for boys to love

the moon sings every night,
pulls the ocean’s tides to shore
your heart belongs to every star
screams dance upon your lips

a princess should be build of
stars and suns and forever’s
your mother told you fairytales
but she didn’t tell you this:

when the sun sets and the wolves run
you will find that sometimes
the princess and the witch are one
and red riding hood will eat the wolf

there is fire in your blood
a forest building in your veins
don’t try to lose the moonlight
you were meant for this

between dawn and dusk
you were made of miracles
and you can run all you want
but in the light of the moon
the wolves will always call you back

Unknown

A werewolf

Carter was writing in the latter half of the twentieth century and well into the feminist era for the Western world. Sexuality and heterosexual relationships had become far more complex and nuanced than marriage was in the seventeenth century. By pulling out many of the metaphors from ‘The Company of Wolves’ it is possible to argue that Carter saw heterosexual relationships as equal. Not only that, but she saw both men and women as having strong sexual desires that might be seen as monstrous, but are perhaps more rightly called natural. Carter’s werewolf, as a metaphor for male sexuality, is rich and deep. The werewolf encountered by the young woman is a woodcutter, therefore spends time even in his human form in the wild woods. The reader is introduced to a handsome and friendly young man, though his eyes are the eyes of a wolf. Here is a wolf-man who has to hide his true nature behind a veneer of civility. His true nature is hungry and wild and violent. And, yet we know that “the beasts would love to be less beastly.” He meets his match in the young woman he attempts to seduce. She not only turns the tables by willingly kissing him and removing his clothes, she accepts his wolfish aspect by grooming him, comforting him and sleeping with him. In the young woman the reader is introduced to a very different Red Riding Hood than the one from Perrault’s tale. This woman goes into the woods with a knife, prepared for werewolves. She is confident and unafraid. She maybe virginal, perhaps a little naïve, but she is not stupid and she understands something of the relationship between men and women. She looks forward to losing her bet with the woodcutter and freely kisses him when the time comes to pay up. She realizes that fear of this wolf will not help her so she chooses not to be afraid of him. In fact she seems to pity him; at least she pities his cold hungry brothers singing outside. And, when informed that the wolf intends to eat her, this Red Riding Hood laughs in his face. She is so confident in herself that “she [is] nobody’s meat.” At this point the reader sees a young woman who is comfortable with her own sexuality. She removes the wolf’s clothing. “She will lay his fearful head on her lap and she will pick out the lice from his pelt and perhaps she will put the lice in her mouth and eat them, as he will bid her, as she would do in a savage marriage ceremony.” This young woman has clearly accepted the animal nature of her sexuality, that part of her that so many women are taught to believe is monstrous.

Laura McWriter
Angela Carter, Red Riding Hood, Werewolves and Sex

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