“…With this story and destiny in mind, it may not be too far-fetched to consider 'gender horror' (the kind of horror experienced by a female fairy-tale character in an abusive domestic situation) a distinctive feature of retold fairy tales of the 'Carter generation' and beyond. Horror is not a phenomenon that has been introduced recently in fairy tales, to be sure, as the generic boundaries between classic fairy tales and the Gothic are well-established and well-researched (Piatti-Farnell 2018, 2021Tatar 1992Tatar , 2004Armitt [1998] 2009) but occasionally porous when it comes to plots or plot segments, themes, spaces, and characterisation: escape, imprisonment, and abandonment; castles, forbidden rooms, and other sites of seclusion; monsters and monstrous husbands; persecuted younger heroines and older women/men persecutors; death and mutilation; symbolic, attempted or real sexual assaults (one only needs to think of a few classic Italian and French versions of 'Sleeping Beauty'), all of this driven by fear and often based on an enigma. Jane Eyre, for example, is a classic case of a novel that sits at the crossroads of bildungsroman, gothic, and fairy tale.…”