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In this enjoyable volume, Kay Stone has selected writings from her scholarly articles and books spanning 1975-2004 that contain reflections on the value of fairy tales as adult literature. The title Some Day Your Witch Will Come twists a Walt Disney lyric to challenge the typical fairy-tale framework and is a nod to Stone's innovative and sometimes unconventional perspective. As a whole, this collection is a fascinating look at both the evolution of a career and the recent history of fairy-tale scholarship.
In this mischievous and utterly original debut, Hansel and Gretel walk out of their own story and into eight other classic Grimm-inspired tales. As readers follow the siblings through a forest brimming with menacing foes, they learn the true story behind (and beyond) the bread crumbs, edible houses, and outwitted witches. Fairy tales have never been more irreverent or subversive as Hansel and Gretel learn to take charge of their destinies and become the clever architects of their own happily ever after.
Burning Brightly is the first full-length book treatment of professional storytelling in North America today. For some years there has been a major storytelling revival throughout the continent, with hundreds of local groups and centres springing up, and with storytelling becoming an important part of the professional training for librarians. In the book, Stone explores storytelling through storytellers themselves, while providing enlightening commentary from her own background as a storyteller. Included in her analysis are informative discussions of organized storytelling communities, individual tellers, and tales. Issues such as the modern recontextualization of old tales and the role of women in folktales are linked to individual storytelling accounts. Texts of eight stories that exemplify the approaches of the various storytellers are also included. Burning Brightly will be compelling reading for storytellers—and for everyone who loves storytelling.
An earthy and beautiful collection of four stories that celebrate the seasons, nature, and life, from award-winning author-illustrator Phoebe Wahl. Little Witch Hazel is a tiny witch who lives in the forest, helping creatures big and small. She's a midwife, an intrepid explorer, a hard worker and a kind friend. In this four-season volume, Little Witch Hazel rescues an orphaned egg, goes sailing on a raft, solves the mystery of a haunted stump and makes house calls to fellow forest dwellers. But when Little Witch Hazel needs help herself, will she get it in time? Little Witch Hazel is a beautiful ode to nature, friendship, wild things and the seasons that only Phoebe Wahl could create: an instant classic and a book that readers will pore over time and time again.
In the twenty-first century, American culture is experiencing a profound shift toward pluralism and secularization. In Fairy Tales in Contemporary American Culture: How We Hate to Love Them, Kate Koppy argues that the increasing popularity and presence of fairy tales within American culture is both indicative of and contributing to this shift. By analyzing contemporary fairy tale texts as both new versions in a particular tale type and as wholly new fairy-tale pastiches, Koppy shows that fairy tales have become a key part of American secular scripture, a corpus of shared stories that work to maintain a sense of community among diverse audiences in the United States, as much as biblical scripture and associated texts used to.
In translating Charles Perrault's seventeenth-century Histoires ou contes du temps passé, avec des Moralités into English, Angela Carter worked to modernize the language and message of the tales before rewriting many of them for her own famous collection of fairy tales for adults, The Bloody Chamber, published two years later. In Reading, Translating, Rewriting: Angela Carter's Translational Poetics, author Martine Hennard Dutheil de la Rochère delves into Carter's The Fairy Tales of Charles Perrault (1977) to illustrate that this translation project had a significant impact on Carter's own writing practice. Hennard combines close analyses of both texts with an attention to Carter's active role in the translation and composition process to explore this previously unstudied aspect of Carter's work. She further uncovers the role of female fairy-tale writers and folktales associated with the Grimms' Kinder- und Hausmärchen in the rewriting process, unlocking new doors to The Bloody Chamber. Hennard begins by considering the editorial evolution of The Fairy Tales of Charles Perrault from 1977 to the present day, as Perrault's tales have been rediscovered and repurposed. In the chapters that follow, she examines specific linkages between Carter's Perrault translation and The Bloody Chamber, including targeted analysis of the stories of Red Riding Hood, Bluebeard, Puss-in-Boots, Beauty and the Beast, Sleeping Beauty, and Cinderella. Hennard demonstrates how, even before The Bloody Chamber, Carter intervened in the fairy-tale debate of the late 1970s by reclaiming Perrault for feminist readers when she discovered that the morals of his worldly tales lent themselves to her own materialist and feminist goals. Hennard argues that The Bloody Chamber can therefore be seen as the continuation of and counterpoint to The Fairy Tales of Charles Perrault, as it explores the potential of the familiar stories for alternative retellings. While the critical consensus reads into Carter an imperative to subvert classic fairy tales, the book shows that Carter valued in Perrault a practical educator as well as a proto-folklorist and went on to respond to more hidden aspects of his texts in her rewritings.
This exciting new collection examines the relationships between warfare, myths, and fairy tales, and explores the connections and contradictions between the narratives of war and magic that dominate the ways in which people live and have lived, survived, considered and described their world. Presenting original contributions and critical reflections that explore fairy tales, fantasy and wars, be they "real" or imagined, past or present, this book looks at creative works in popular culture, stories of resistance, the history and representation of global and local conflicts, the Holocaust, across multiple media. It offers a timely and important overview of the latest research in the field, including contributions from academics, story-tellers and artists, thereby transcending the traditional boundaries of the disciplines, extending the parameters of war studies beyond the battlefield.
Scholars of fairy-tale studies will enjoy Bacchilega's significant new study of contemporary adaptations.
Be careful what you wish for. Wishes sometimes come true. University student Hugh Gallagher discovers this when the girl of his dreams, the “incomparable” Selina Beri shows up at his door seeking his geeky expertise for her last final exam. Can Hugh, the classic shy geek, avoid making a fool of himself with the girl he has loved from afar? Some Day Days is a rather experimental memoir of the first few months of a long romance. It is set in Oxford, London, and Cambridge and explores, in a set of twelve pieces; short stories, novelettes, and an essay, the joys and sorrows of a dream come true. However, Some Day Days chronicles only the beginning of this long romance, the remainder of which will remain unrecorded, so that readers who wonder how it all turns out will want to read, rather closely, A Summer in Amber, a novel set many years in the future that offers a clue as to how Hugh and Selina’s romance turned out. C. Litka writes old-fashioned novels with modern sensibilities, humor, and romance. His lighthearted novels of adventure, mystery, and travel are set in richly imagined worlds and feature a colorful cast of well drawn characters. If you seek to escape, for a few hours, your everyday life, you will not find better company, nor more wonderful worlds to travel and explore, than in the novels of C. Litka.
Folklore Recycled starts from the proposition that folklore—usually thought of in its historical social context as “oral tradition”—is easily appropriated and recycled into other contexts. That is, writers may use folklore in their fiction or poetry, taking plots, as an example, from a folktale. Visual artists may concentrate on depicting folk figures or events, like a ritual or a ceremony. Tourism officials may promote a place through advertising its traditional ways. Folklore may play a role in intellectual conceptualizations, as when nationalists use folklore to promote symbolic unity. Folklore Recycled discusses the larger issue of folklore being recycled into non-folk contexts, and proceeds to look at a number of instances of repurposing. Colson Whitehead's novel John Henry Days is a literary text that recycles folklore but does so in a manner which examines a number of other uses of the American folk figure John Henry. The nineteenth-century members of the Louisiana branch of the American Folklore Society and the author Lyle Saxon in the twentieth century used African American folklore to establish personal connections to the world of the southern plantation and buttress their own social status. The writer Lafcadio Hearn wrote about folklore to strengthen his insider credentials wherever he lived. Photographers in Louisiana leaned on folklife to solidify local identity and to promote government programs and industry. Promoters of “unorthodox” theories about history have used folklore as historical document. Americans in Mexico took an interest in folklore for acculturation, for tourism promotion, for interior decoration, and for political ends. All of the examples throughout the book demonstrate the durability and continued relevance of folklore in every context it appears.