If the moment in “The Tale of the Shoe” where the girl turns from the prince to the godmother thrilled you—the way Donoghue flips desire and agency—Angela Carter will feel like kindred fire. In The Bloody Chamber, Carter recasts Bluebeard, Red Riding Hood, and Beauty with razor-edged autonomy and erotic charge. That same electric renegotiation of “happily ever after” you saw when one heroine asks the previous woman to tell her true story is here too, as Carter’s young brides and girls seize the narration, exposing the trap and choosing themselves.

Loved how each chapter of Kissing the Witch ends with a heroine asking, “Who were you before?” and passing the tale backward in a chain? Byatt’s novella centers on Gillian, a folklorist who frees a djinn and hears—and tells—tales nested inside one another. Like Donoghue’s linked confessions—from the girl in the glass slipper to the woman behind the witch—Byatt layers voices and origins, letting a modern woman’s desires refract through old stories until the frame itself becomes the point.

If the mosaic structure of Donoghue’s book—13 compact retellings, each its own prism—worked for you, Machado’s collection will too. Think of how “The Tale of the Apple” or “The Tale of the Hair” distills a whole life into a few incandescent pages; stories like “The Husband Stitch” do the same, stripping a well-known cautionary tale to its essential, devastating beat. You’ll get that same concentrated hit of revelation, one story at a time.

So much of Kissing the Witch is about choosing your own ending—the girl in “The Tale of the Sho e” picking the godmother, the mermaid refusing to surrender the core of herself. McGuire’s Nancy and her classmates have come back from their fairylands and must decide who they are now. It’s the same fierce self-definition Donoghue’s heroines claim when they ask for the real story and write a new one for themselves.

If you loved watching Donoghue’s heroines—Cinderella, the would-be Bluebeard bride, the witch herself—seize the narrative and change the rules, Novik’s Miryem, Wanda, and Irina will scratch the same itch. Where Donoghue lets each woman claim her voice by retelling the last woman’s truth, Spinning Silver gives multiple women the reins of a Rumpelstiltskin bargain and lets them outwit kings and monsters on their own terms.