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In the first chapter, some general characteristics of fairy tales are presented it primarily discusses the original purpose of fairy tales. Due to Atwood’s undeniable success in transforming great classics, it is the aim of this paper to give a brief overview and to discuss some selected feminist issues as well as social critique in Atwood’s Bluebeard’s Egg. As a result, Atwood successfully deconstructs the relationship between Sally and Ed. However, Bluebeard’s Egg does not get its uniqueness from borrowed elements, but from “Atwood’s ability to shape Grimms’ material to her own purposes” (Peterson 4). Essentially, Atwood revisits two fairy tales from the Brothers’ Grimm, namely Fitcher’s Bird and The Robber Bridegroom. As a result of her modifications, Atwood hides their traces in order to reveal contemporary problems (Merli 2). In Margaret Atwood’s contemporary rewriting Bluebeard’s Egg, great and well known fairy tales are used and modified in order to subvert them (Merli 2). Carter and Atwood exploit fairy tale characters, settings, motifs, and plots in their fiction and have also written their own reworkings of traditional fairy tales. Atwood's fairy tale intertextual strategies have been extensively discussed by Sharon Rose Wilson, Brooks Bouson, Shuli Barzilai and others. The use of fairy tales and myths by Atwood and Carter has been discussed by numerous critics, including Danielle M. Fairy tale parodies Both Angela Carter and Margaret Atwood draw on fairy tales and re-use elements of recognition, survival, and magical transformation in constructing the identity of their heroines. The article focuses on the strategies the authors use to rewrite the traditional patterns of passive female heroine and inscribe a constructive ambiguity. Both writers see fairy tales as open sources that can be subverted and rewritten. This article compares the use of fairy-tale elements in Carter's The Magic Toyshop and Atwood's Life Before Man, which not only evoke these resonant forms of story-telling in their titles, character names and plot devices, but create intertexts that parody and give alternate or even reversed meanings to fairy-tale tropes. Angela Carter and Margaret Atwood exploit fairy tale characters, settings, motifs, and plots in their fiction, they are also authors of original reworkings of fairy tales.