Showing posts sorted by relevance for query dickens. Sort by date Show all posts
Showing posts sorted by relevance for query dickens. Sort by date Show all posts

Tuesday, February 7, 2012

Dickens Birthday: Social Dreaming: Dickens and the Fairy Tale by Elaine Ostry



The black box/ book cover above is for Social Dreaming: Dickens and the Fairy Tale (Studies in Major Literary Authors) by Elaine Ostry. This should be of particular interest to those who want to read more about Dickens and fairy tales, of course.

Book description:

Dickens was known for his incredible imagination and fiery social protest. This book shows how Dickens used the fairy tale to express his political and social views and helped establish it as an important literary genre for the Victorian Public. Drawing on exciting new criticism by Jack Zipes, Maria Tartar and others, and covering all of Dickens's works, Social Dreaming sheds valuable socio-historical light on the fairy tale as a social tool. This book also includes a lengthy examination of Dickens's periodicals - the most popular middle-class publications in Victorian times - a largely neglected area of Dickens's criticism. The work will be of interest to Dickens scholars, students of Victorian Literature, and children's literature specialists.

And here's an excerpt from the introduction:

The young Charles Dickens did not know how lucky he was to have a nursemaid who scared him silly with her stories. Hut the older Dickens did know, and acknowledged his debt to his nurse, Mary Weller, in his article “Nurse’s Stories” (1860). Throughout his career, Dickens engaged in fairy tales on every level: he wrote them, defended them, alluded to them and used techniques of the genre in his essays and novels. According to Dickens, fancy was the imaginative faculty, and the fairy tale was a literary form that both exemplified and encouraged fancy. Throughout the hook I will be referring to both terms for, in defending fancy, Dickens defends the imagination and the fairy tale in the same breath. Dickens was not a writer who made philosophical or semantic distinctions between related words: for instance, he used the terms fancy, romance, and imagination loosely and interchangeably. He did not distinguish between fancy and imagination the way Coleridge did; indeed, Dickens’s view of fancy is that it is something often more serious than Coleridge’s “mode of memory” (Coleridge 167). According to Philip Collins, fancy “can mean to Dickens anything from colourful jollity and fun, to that imaginative sustenance which should nourish in both children and adults a wisdom of the heart, as well as provide an escape from present sorrow” (Education 91). John P. McGowan defines Dickens’s distinction between reality and fancy thus: “Reality is empirical, while fancy designates the nonmaterial mental processes associated with the romantic praise of the imagination (103). It was a state of mind, whimsical and humorous, in which “everyday reality is reseen imaginatively, even fantastically, but the result increases rather than diminishes our sense of the reality depicted” (H. Stone, “Introduction” 56).

And the Table of Contents:

Preface
Acknowledgments
List of Abbreviations
Ch. 1 Nurse's Stories: Fairy Tales as Cultural Voices 1
Ch. 2 Frauds on the Fairies: Defending Fancy 29
Ch. 3 Monsters and Fairies, Homes and Wildernesses 59
Ch. 4 Dickens's Christmas "Fairy Tales of Home" 79
Ch. 5 The Fairy Tale in Dickens's Periodicals 105
App. A Survey of Criticism on Dickens and the Fairy Tale 131
App. B Perrault's Morals to "Cinderella" 137
Notes 139
Works Consulted 155
Index 193

Dickens Birthday: Victorian Fairy Tales: The Revolt of the Fairies and Elves by Jack Zipes



Victorian Fairy Tales: The Revolt of the Fairies and Elves is one book with some words on Dickens by the Grimm Legacies keynote speaker, Jack Zipes. For an excerpt about Dickens from the introduction, scroll further down this post.

Book description:

This is an illuminating, irresistible, and unique anthology of fairy tales written by some of the most notable writers of the Victorian period. Presented chronologically, the twenty-two tales in this volume, by such masters of storytelling as Charles Dickens, Lewis Carroll, Oscar Wilde, Rudyard Kipling, and Edith Nesbitt, will enthrall readers of all ages. Most of the tales are accompanied by their original illustrations, including work by some of the best known illustrators of the time. Through his insightful introduction to the collection and his introduction to each tale, Jack Zipes brings to life the history of the development of the fairy tale, presents background material on the authors, and describes the role the fairy tale played in Victorian society.

From the introduction, Zipes's words on Dickens:

Dickens himself tended to incorporate fairy-tale motifs and plots primarily in his novels and particularly in his Christmas Books (1843-5). It is almost as though he did not want to tarnish the childlike innocence of the tales that he read as a young boy-tales which incidentally filled him with hope during his difficult childhood-by replacing them with new ones. But Dickens did use the fairy tale to make political and social statements, as in Prince Bull (1855) and The Thousand and One Humbugs (1855), and his regressive longings for the innocent bliss of fairyland are mad most evident in his essay A Christmas Tree (1850).

What was to be was Dickens' adult quest for fairy bliss in his novels, and it is not by chance that one of the last works he wrote toward the end of his life was "The Magic Fishbone" (1868)...Here Dickens parodied a helpless king as a salaried worker, who is accustomed to understanding everything with his reason. He becomes totally confused by the actions of his daughter Alicia, who receives a magic fishbone from a strange and brazen fairy named Grandmarina. Alicia does not use the fishbone when one would expect her to. Only when the king reveals to her that he can no longer provide for the family does Alicia make use of the magic fishbone. Suddenly Grandmarina arrives to bring about a comical ending in which the most preposterous changes occur. Nothing can be grasped through logic, and this is exactly Dickens' point: his droll tale-narrated from the viewpoint of a child-depends on the unusual deployment of fairy-tale motifs to question the conventional standards of society and to demonstrate that there is strength and soundness in the creativity of the younhg. The patriarchal figure of authority is at a loss to rule and provide, and the reversal of circumstances points to a need for change in social relations. The realm of genuine happiness that is glimpsed at the end of Dickens' fairy tale is a wish-fulfillment that he himself shared with many Victorians who were dissatisfied with social conditions in English society.

Table of Contents

Note on the Illustrations
Preface
Introduction

Uncle David's Nonsensical Story about Giants and Fairies
Catherine Sinclair

The King of the Golden River, or The Black Brothers
John Ruskin

Cinderella and the Glass Slipper
George Cruikshank

Heinrich; or, The Love of Gold
Alfred Crowquill

Bruno's Revenge
Lewis Carroll

The Magic Fishbone
Charles Dickens

Cinderella
Anne Isabella Ritchie

The Ogre Courting
Juliana Horatia Ewing

The Prince's Dream
Jean Ingelow

Charlie Among the Elves
Edward H. Knatchbull-Hugessen

A Toy Princess
Mary De Morgan

The Day Boy and the Night Girl
George Macdonald

All my Doing; or Red Riding-Hood Over Again
Harriet Louisa Childe-Pemberton

The Princess Nobody
Andrew Lang

The Story of a King's Daughter
Mary Louisa Molesworth

The Happy Prince
Oscar Wilde

Wooden Tony
Lucy Lane Clifford

The Potted Princess
Rudyard Kipling

The Rooted Lover
Laurence Housman

The Reluctant Dragon
Kenneth Grahame

The Last of the Dragons
Edith Nesbit

The Spell of the Magician's Daughter
Evelyn Sharp

Select Bibliography

Dickens Birthday: Nurse's Stories by Charles Dickens



One of the most famous pieces concerning Dickens and fairy tales is his short essay describing some of the tales he heard from his nursemaid at a young age. A Bluebeard tale, Captain Murderer, is among the tales that scared him as a child and certainly affected his later writings. Here is the original text:

Nurse’s Stories
By Charles Dickens

THERE are not many places that I find it more agreeable to revisit when I am in an idle mood, than some places to which I have never been. For, my acquaintance with those spots is of such long standing, and has ripened into an intimacy of so affectionate a nature, that I take a particular interest in assuring myself that they are unchanged.

I never was in Robinson Crusoe’s Island, yet I frequently return there. The colony he established on it soon faded away, and it is uninhabited by any descendants of the grave and courteous Spaniards, or of Will Atkins and the other mutineers, and has relapsed into its original condition. Not a twig of its wicker houses remains, its goats have long run wild again, its screaming parrots would darken the sun with a cloud of many flaming colours if a gun were fired there, no face is ever reflected in the waters of the little creek which Friday swam across when pursued by his two brother cannibals with sharpened stomachs. After comparing notes with other travellers who have similarly revisited the Island and conscientiously inspected it, I have satisfied myself that it contains no vestige of Mr. Atkins’s domesticity or theology, though his track on the memorable evening of his landing to set his captain ashore, when he was decoyed about and round about until it was dark, and his boat was stove, and his strength and spirits failed him, is yet plainly to be traced. So is the hill-top on which Robinson was struck dumb with joy when the reinstated captain pointed to the ship, riding within half a mile of the shore, that was to bear him away, in the nine-and-twentieth year of his seclusion in that lonely place. So is the sandy beach on which the memorable footstep was impressed, and where the savages hauled up their canoes when they came ashore for those dreadful public dinners, which led to a dancing worse than speech-making. So is the cave where the flaring eyes of the old goat made such a goblin appearance in the dark. So is the site of the hut where Robinson lived with the dog and the parrot and the cat, and where he endured those first agonies of solitude, which—strange to say—never involved any ghostly fancies; a circumstance so very remarkable, that perhaps he left out something in writing his record? Round hundreds of such objects, hidden in the dense tropical foliage, the tropical sea breaks evermore; and over them the tropical sky, saving in the short rainy season, shines bright and cloudless.

Neither, was I ever belated among wolves, on the borders of France and Spain; nor, did I ever, when night was closing in and the ground was covered with snow, draw up my little company among some felled trees which served as a breastwork, and there fire a train of gunpowder so dexterously that suddenly we had three or four score blazing wolves illuminating the darkness around us. Nevertheless, I occasionally go back to that dismal region and perform the feat again; when indeed to smell the singeing and the frying of the wolves afire, and to see them setting one another alight as they rush and tumble, and to behold them rolling in the snow vainly attempting to put themselves out, and to hear their howlings taken up by all the echoes as well as by all the unseen wolves within the woods, makes me tremble.

I was never in the robbers’ cave, where Gil Blas lived, but I often go back there and find the trap-door just as heavy to raise as it used to be, while that wicked old disabled Black lies everlastingly cursing in bed. I was never in Don Quixote’s study, where he read his books of chivalry until he rose and hacked at imaginary giants, and then refreshed himself with great draughts of water, yet you couldn’t move a book in it without my knowledge, or with my consent. I was never (thank Heaven) in company with the little old woman who hobbled out of the chest and told the merchant Abudah to go in search of the Talisman of Oromanes, yet I make it my business to know that she is well preserved and as intolerable as ever. I was never at the school where the boy Horatio Nelson got out of bed to steal the pears: not because he wanted any, but because every other boy was afraid: yet I have several times been back to this Academy, to see him let down out of window with a sheet. So with Damascus, and Bagdad, and Brobingnag (which has the curious fate of being usually misspelt when written), and Lilliput, and Laputa, and the Nile, and Abyssinia, and the Ganges, and the North Pole, and many hundreds of places—I was never at them, yet it is an affair of my life to keep them intact, and I am always going back to them.

But, when I was in Dullborough one day, revisiting the associations of my childhood as recorded in previous pages of these notes, my experience in this wise was made quite inconsiderable and of no account, by the quantity of places and people—utterly impossible places and people, but none the less alarmingly real—that I found I had been introduced to by my nurse before I was six years old, and used to be forced to go back to at night without at all wanting to go. If we all knew our own minds (in a more enlarged sense than the popular acceptation of that phrase), I suspect we should find our nurses responsible for most of the dark corners we are forced to go back to, against our wills.

The first diabolical character who intruded himself on my peaceful youth (as I called to mind that day at Dullborough), was a certain Captain Murderer. This wretch must have been an off-shoot of the Blue Beard family, but I had no suspicion of the consanguinity in those times. His warning name would seem to have awakened no general prejudice against him, for he was admitted into the best society and possessed immense wealth. Captain Murderer’s mission was matrimony, and the gratification of a cannibal appetite with tender brides. On his marriage morning, he always caused both sides of the way to church to be planted with curious flowers; and when his bride said, ‘Dear Captain Murderer, I ever saw flowers like these before: what are they called?’ he answered, ‘They are called Garnish for house-lamb,’ and laughed at his ferocious practical joke in a horrid manner, disquieting the minds of the noble bridal company, with a very sharp show of teeth, then displayed for the first time. He made love in a coach and six, and married in a coach and twelve, and all his horses were milk-white horses with one red spot on the back which he caused to be hidden by the harness. For, the spot would come there, though every horse was milk-white when Captain Murderer bought him. And the spot was young bride’s blood. (To this terrific point I am indebted for my first personal experience of a shudder and cold beads on the forehead.) When Captain Murderer had made an end of feasting and revelry, and had dismissed the noble guests, and was alone with his wife on the day month after their marriage, it was his whimsical custom to produce a golden rolling-pin and a silver pie-board. Now, there was this special feature in the Captain’s courtships, that he always asked if the young lady could make pie-crust; and if she couldn’t by nature or education, she was taught. Well. When the bride saw Captain Murderer produce the golden rolling-pin and silver pie-board, she remembered this, and turned up her laced-silk sleeves to make a pie. The Captain brought out a silver pie-dish of immense capacity, and the Captain brought out flour and butter and eggs and all things needful, except the inside of the pie; of materials for the staple of the pie itself, the Captain brought out none. Then said the lovely bride, ‘Dear Captain Murderer, what pie is this to be?’ He replied, ‘A meat pie.’ Then said the lovely bride, ‘Dear Captain Murderer, I see no meat.’ The Captain humorously retorted, ‘Look in the glass.’ She looked in the glass, but still she saw no meat, and then the Captain roared with laughter, and suddenly frowning and drawing his sword, bade her roll out the crust. So she rolled out the crust, dropping large tears upon it all the time because he was so cross, and when she had lined the dish with crust and had cut the crust all ready to fit the top, the Captain called out, ‘I see the meat in the glass!’ And the bride looked up at the glass, just in time to see the Captain cutting her head off; and he chopped her in pieces, and peppered her, and salted her, and put her in the pie, and sent it to the baker’s, and ate it all, and picked the bones.

Captain Murderer went on in this way, prospering exceedingly, until he came to choose a bride from two twin sisters, and at first didn’t know which to choose. For, though one was fair and the other dark, they were both equally beautiful. But the fair twin loved him, and the dark twin hated him, so he chose the fair one. The dark twin would have prevented the marriage if she could, but she couldn’t; however, on the night before it, much suspecting Captain Murderer, she stole out and climbed his garden wall, and looked in at his window through a chink in the shutter, and saw him having his teeth filed sharp. Next day she listened all day, and heard him make his joke about the house-lamb. And that day month, he had the paste rolled out, and cut the fair twin’s head off, and chopped her in pieces, and peppered her, and salted her, and put her in the pie, and sent it to the baker’s, and ate it all, and picked the bones.

Now, the dark twin had had her suspicions much increased by the filing of the Captain’s teeth, and again by the house-lamb joke. Putting all things together when he gave out that her sister was dead, she divined the truth, and determined to be revenged. So, she went up to Captain Murderer’s house, and knocked at the knocker and pulled at the bell, and when the Captain came to the door, said: ‘Dear Captain Murderer, marry me next, for I always loved you and was jealous of my sister.’ The Captain took it as a compliment, and made a polite answer, and the marriage was quickly arranged. On the night before it, the bride again climbed to his window, and again saw him having his teeth filed sharp. At this sight she laughed such a terrible laugh at the chink in the shutter, that the Captain’s blood curdled, and he said: ‘I hope nothing has disagreed with me!’ At that, she laughed again, a still more terrible laugh, and the shutter was opened and search made, but she was nimbly gone, and there was no one. Next day they went to church in a coach and twelve, and were married. And that day month, she rolled the pie-crust out, and Captain Murderer cut her head off, and chopped her in pieces, and peppered her, and salted her, and put her in the pie, and sent it to the baker’s, and ate it all, and picked the bones.

But before she began to roll out the paste she had taken a deadly poison of a most awful character, distilled from toads’ eyes and spiders’ knees; and Captain Murderer had hardly picked her last bone, when he began to swell, and to turn blue, and to be all over spots, and to scream. And he went on swelling and turning bluer, and being more all over spots and screaming, until he reached from floor to ceiling and from wall to wall; and then, at one o’clock in the morning, he blew up with a loud explosion. At the sound of it, all the milk-white horses in the stables broke their halters and went mad, and then they galloped over everybody in Captain Murderer’s house (beginning with the family blacksmith who had filed his teeth) until the whole were dead, and then they galloped away.

Hundreds of times did I hear this legend of Captain Murderer, in my early youth, and added hundreds of times was there a mental compulsion upon me in bed, to peep in at his window as the dark twin peeped, and to revisit his horrible house, and look at him in his blue and spotty and screaming stage, as he reached from floor to ceiling and from wall to wall. The young woman who brought me acquainted with Captain Murderer had a fiendish enjoyment of my terrors, and used to begin, I remember—as a sort of introductory overture—by clawing the air with both hands, and uttering a long low hollow groan. So acutely did I suffer from this ceremony in combination with this infernal Captain, that I sometimes used to plead I thought I was hardly strong enough and old enough to hear the story again just yet. But, she never spared me one word of it, and indeed commanded the awful chalice to my lips as the only preservative known to science against ‘The Black Cat’—a weird and glaring-eyed supernatural Tom, who was reputed to prowl about the world by night, sucking the breath of infancy, and who was endowed with a special thirst (as I was given to understand) for mine.

This female bard—may she have been repaid my debt of obligation to her in the matter of nightmares and perspirations!—reappears in my memory as the daughter of a shipwright. Her name was Mercy, though she had none on me. There was something of a shipbuilding flavour in the following story. As it always recurs to me in a vague association with calomel pills, I believe it to have been reserved for dull nights when I was low with medicine.

There was once a shipwright, and he wrought in a Government Yard, and his name was Chips. And his father’s name before him was Chips, and his father’s name before him was Chips, and they were all Chipses. And Chips the father had sold himself to the Devil for an iron pot and a bushel of tenpenny nails and half a ton of copper and a rat that could speak; and Chips the grandfather had sold himself to the Devil for an iron pot and a bushel of tenpenny nails and half a ton of copper and a rat that could speak; and Chips the great-grandfather had disposed of himself in the same direction on the same terms; and the bargain had run in the family for a long, long time. So, one day, when young Chips was at work in the Dock Slip all alone, down in the dark hold of an old Seventy-four that was haled up for repairs, the Devil presented himself, and remarked:

‘A Lemon has pips,
And a Yard has ships,
And I’ll have Chips!’

(I don’t know why, but this fact of the Devil’s expressing himself in rhyme was peculiarly trying to me.) Chips looked up when he heard the words, and there he saw the Devil with saucer eyes that squinted on a terrible great scale, and that struck out sparks of blue fire continually. And whenever he winked his eyes, showers of blue sparks came out, and his eyelashes made a clattering like flints and steels striking lights. And hanging over one of his arms by the handle was an iron pot, and under that arm was a bushel of tenpenny nails, and under his other arm was half a ton of copper, and sitting on one of his shoulders was a rat that could speak. So, the Devil said again:

‘A Lemon has pips,
And a Yard has ships,
And I’ll have Chips!’

(The invariable effect of this alarming tautology on the part of the Evil Spirit was to deprive me of my senses for some moments.) So, Chips answered never a word, but went on with his work. ‘What are you doing, Chips?’ said the rat that could speak. ‘I am putting in new planks where you and your gang have eaten old away,’ said Chips. ‘But we’ll eat them too,’ said the rat that could speak; ‘and we’ll let in the water and drown the crew, and we’ll eat them too.’ Chips, being only a shipwright, and not a Man-of-war’s man, said, ‘You are welcome to it.’ But he couldn’t keep his eyes off the half a ton of copper or the bushel of tenpenny nails; for nails and copper are a shipwright’s sweethearts, and shipwrights will run away with them whenever they can. So, the Devil said, ‘I see what you are looking at, Chips. You had better strike the bargain. You know the terms. Your father before you was well acquainted with them, and so were your grandfather and great-grandfather before him.’ Says Chips, ‘I like the copper, and I like the nails, and I don’t mind the pot, but I don’t like the rat.’ Says the Devil, fiercely, ‘You can’t have the metal without him—and he’s a curiosity. I’m going.’ Chips, afraid of losing the half a ton of copper and the bushel of nails, then said, ‘Give us hold!’ So, he got the copper and the nails and the pot and the rat that could speak, and the Devil vanished. Chips sold the copper, and he sold the nails, and he would have sold the pot; but whenever he offered it for sale, the rat was in it, and the dealers dropped it, and would have nothing to say to the bargain. So, Chips resolved to kill the rat, and, being at work in the Yard one day with a great kettle of hot pitch on one side of him and the iron pot with the rat in it on the other, he turned the scalding pitch into the pot, and filled it full. Then, he kept his eye upon it till it cooled and hardened, and then he let it stand for twenty days, and then he heated the pitch again and turned it back into the kettle, and then he sank the pot in water for twenty days more, and then he got the smelters to put it in the furnace for twenty days more, and then they gave it him out, red hot, and looking like red-hot glass instead of iron-yet there was the rat in it, just the same as ever! And the moment it caught his eye, it said with a jeer:

‘A Lemon has pips,
And a Yard has ships,
And I’ll have Chips!’

(For this Refrain I had waited since its last appearance, with inexpressible horror, which now culminated.) Chips now felt certain in his own mind that the rat would stick to him; the rat, answering his thought, said, ‘I will—like pitch!’

Now, as the rat leaped out of the pot when it had spoken, and made off, Chips began to hope that it wouldn’t keep its word. But, a terrible thing happened next day. For, when dinner-time came, and the Dock-bell rang to strike work, he put his rule into the long pocket at the side of his trousers, and there he found a rat—not that rat, but another rat. And in his hat, he found another; and in his pocket-handkerchief, another; and in the sleeves of his coat, when he pulled it on to go to dinner, two more. And from that time he found himself so frightfully intimate with all the rats in the Yard, that they climbed up his legs when he was at work, and sat on his tools while he used them. And they could all speak to one another, and he understood what they said. And they got into his lodging, and into his bed, and into his teapot, and into his beer, and into his boots. And he was going to be married to a corn-chandler’s daughter; and when he gave her a workbox he had himself made for her, a rat jumped out of it; and when he put his arm round her waist, a rat clung about her; so the marriage was broken off, though the banns were already twice put up—which the parish clerk well remembers, for, as he handed the book to the clergyman for the second time of asking, a large fat rat ran over the leaf. (By this time a special cascade of rats was rolling down my back, and the whole of my small listening person was overrun with them. At intervals ever since, I have been morbidly afraid of my own pocket, lest my exploring hand should find a specimen or two of those vermin in it.)

You may believe that all this was very terrible to Chips; but even all this was not the worst. He knew besides, what the rats were doing, wherever they were. So, sometimes he would cry aloud, when he was at his club at night, ‘Oh! Keep the rats out of the convicts’ burying-ground! Don’t let them do that!’ Or, ‘There’s one of them at the cheese down-stairs!’ Or, ‘There’s two of them smelling at the baby in the garret!’ Or, other things of that sort. At last, he was voted mad, and lost his work in the Yard, and could get no other work. But, King George wanted men, so before very long he got pressed for a sailor. And so he was taken off in a boat one evening to his ship, lying at Spithead, ready to sail. And so the first thing he made out in her as he got near her, was the figure-head of the old Seventy-four, where he had seen the Devil. She was called the Argonaut, and they rowed right under the bowsprit where the figure-head of the Argonaut, with a sheepskin in his hand and a blue gown on, was looking out to sea; and sitting staring on his forehead was the rat who could speak, and his exact words were these: ‘Chips ahoy! Old boy! We’ve pretty well eat them too, and we’ll drown the crew, and will eat them too!’ (Here I always became exceedingly faint, and would have asked for water, but that I was speechless.)

The ship was bound for the Indies; and if you don’t know where that is, you ought to it, and angels will never love you. (Here I felt myself an outcast from a future state.) The ship set sail that very night, and she sailed, and sailed, and sailed. Chips’s feelings were dreadful. Nothing ever equalled his terrors. No wonder. At last, one day he asked leave to speak to the Admiral. The Admiral giv’ leave. Chips went down on his knees in the Great State Cabin. ‘Your Honour, unless your Honour, without a moment’s loss of time, makes sail for the nearest shore, this is a doomed ship, and her name is the Coffin!’ ‘Young man, your words are a madman’s words.’ ‘Your Honour no; they are nibbling us away.’ ‘They?’ ‘Your Honour, them dreadful rats. Dust and hollowness where solid oak ought to be! Rats nibbling a grave for every man on board! Oh! Does your Honour love your Lady and your pretty children?’ ‘Yes, my man, to be sure.’ ‘Then, for God’s sake, make for the nearest shore, for at this present moment the rats are all stopping in their work, and are all looking straight towards you with bare teeth, and are all saying to one another that you shall never, never, never, never, see your Lady and your children more.’ ‘My poor fellow, you are a case for the doctor. Sentry, take care of this man!’

So, he was bled and he was blistered, and he was this and that, for six whole days and nights. So, then he again asked leave to speak to the Admiral. The Admiral giv’ leave. He went down on his knees in the Great State Cabin. ‘Now, Admiral, you must die! You took no warning; you must die! The rats are never wrong in their calculations, and they make out that they’ll be through, at twelve to-night. So, you must die!—With me and all the rest!’ And so at twelve o’clock there was a great leak reported in the ship, and a torrent of water rushed in and nothing could stop it, and they all went down, every living soul. And what the rats—being water-rats—left of Chips, at last floated to shore, and sitting on him was an immense overgrown rat, laughing, that dived when the corpse touched the beach and never came up. And there was a deal of seaweed on the remains. And if you get thirteen bits of seaweed, and dry them and burn them in the fire, they will go off like in these thirteen words as plain as plain can be:

‘A Lemon has pips,
And a Yard has ships,
And I’ve got Chips!’

The same female bard—descended, possibly, from those terrible old Scalds who seem to have existed for the express purpose of addling the brains of mankind when they begin to investigate languages—made a standing pretence which greatly assisted in forcing me back to a number of hideous places that I would by all means have avoided. This pretence was, that all her ghost stories had occurred to her own relations. Politeness towards a meritorious family, therefore, forbade my doubting them, and they acquired an air of authentication that impaired my digestive powers for life. There was a narrative concerning an unearthly animal foreboding death, which appeared in the open street to a parlour-maid who ‘went to fetch the beer’ for supper: first (as I now recall it) assuming the likeness of a black dog, and gradually rising on its hind-legs and swelling into the semblance of some quadruped greatly surpassing a hippopotamus: which apparition—not because I deemed it in the least improbable, but because I felt it to be really too large to bear—I feebly endeavoured to explain away. But, on Mercy’s retorting with wounded dignity that the parlour-maid was her own sister-in-law, I perceived there was no hope, and resigned myself to this zoological phenomenon as one of my many pursuers. There was another narrative describing the apparition of a young woman who came out of a glass-case and haunted another young woman until the other young woman questioned it and elicited that its bones (Lord! To think of its being so particular about its bones!) were buried under the glass-case, whereas she required them to be interred, with every Undertaking solemnity up to twenty-four pound ten, in another particular place. This narrative I considered—I had a personal interest in disproving, because we had glass-cases at home, and how, otherwise, was I to be guaranteed from the intrusion of young women requiring me to bury them up to twenty-four pound ten, when I had only twopence a week? But my remorseless nurse cut the ground from under my tender feet, by informing me that She was the other young woman; and I couldn’t say ‘I don’t believe you;’ it was not possible.

Such are a few of the uncommercial journeys that I was forced to make, against my will, when I was very young and unreasoning. And really, as to the latter part of them, it is not so very long ago—now I come to think of it—that I was asked to undertake them once again, with a steady countenance.

Originally in All the Year Round, Vol. 3, No. 72, Sept. 8, 1860.
Later reprinted in The Uncommercial Traveller [1860]

Dickens Birthday: Happy 200th, Charles Dickens!



Today is the 200th birthday of Charles Dickens, a lifelong supporter of fairy tales. So I wanted to devote a few entries to him today in celebration.

We already know somewhat that Dickens loved Little Red Riding Hood. He once wrote: "Little Red Riding Hood was my first love. I felt that if I could have married Little Red Riding Hood I should have known perfect bliss."


But fairy tales informed more of his work, not directly with fairy tale retellings like some of his contemporaries, but he alluded to them frequently and even defended them when he felt it was necessary as some of today's entries will show.

And ever since I read Great Expectations and David Copperfield as a high school freshman (the boys in my carpool thought I was reading about our modern day magician), I've had a keen appreciation of his work. But, as much as I do appreciate it, I hope to never have to read Hard Times again since I had it assigned more times than I can count in many classes over the course of my formal education.

Sunday, October 2, 2011

Bargain Ebooks Today: What the Dickens and The Name of the Rose




For those of you considering a Kindle after all the new iterations announced this week--or those who already own one--two books that may be of interest to readers here just dropped in price, probably temporarily, so if you are interested, don't wait. Sometimes these price drops only last a matter of hours or days. (I picked up the Hunger Games Trilogy for under five dollars on Wednesday in a deal that only lasted a few hours.) They've been on my really long watch list and these prices make them a great bargain.


And, while we're here, if you are considering a Kindle--I myself already preordered a Kindle Fire so expect a review when it arrives--please remember to click through SurLaLune before adding one to your cart to purchase. SurLaLune gets a small percentage which helps keep this site going. Believe it or not, this site just manages to support itself--it's not making me rich or even paying a bill or two--this is all done out of passion, not finance, but it helps when it doesn't take away from my pockets either! The Kindle Fire won't be replacing my beloved Keyboard Kindles but will supplement for reading books in color and web browsing and note taking in meetings, or so I hope on the latter. Yes, I have another job entirely separate from SurLaLune that actually pays the bills. I just adore the e-ink screens too much for my extensive bouts of reading so the e-ink Kindles are still my preferred devices for reading regular books.

But on to the bargain books, here's more about them:


What-the-Dickens: The Story of a Rogue Tooth Fairy by Gregory Maguire

Book description:

A terrible storm is raging, and Dinah is huddled by candlelight with her brother, sister, and cousin Gage, who is telling a very unusual tale. It’s thestory of What-the-Dickens, a newly hatched orphan creature who finds he has an attraction to teeth, a crush on a cat named McCavity, and a penchant for getting into trouble. One day he happens upon a feisty girl skibberee working as an Agent of Change — trading coins for teeth — and learns of a dutiful tribe of tooth fairies to which he hopes to belong. As his tale unfolds, however, both What-the-Dickens and Dinah come to see that the world is both richer and far less sure than they ever imagined.


The Name of the Rose by Umberto Eco

Book description:

The year is 1327. Franciscans in a wealthy Italian abbey are suspected of heresy, and Brother William of Baskerville arrives to investigate.When his delicate mission is suddenly overshadowed by seven bizarre deaths, Brother William turns detective. He collects evidence, deciphers secret symbols and coded manuscripts, and digs into the eerie labyrinth of the abbey where extraordinary things are happening under the cover of night. A spectacular popular and critical success, The Name of the Rose is not only a narrative of a murder investigation but an astonishing chronicle of the Middle Ages.

Tuesday, February 7, 2012

Grimm Legacies Presenter: Michael Hearn


  

The Victorian Fairy Tale Book (Pantheon Fairy Tale & Folklore Library) by Michael Hearn is another fitting post which cross-matches between Charles Dickens' birthday today and the recent Grimm Legacies Symposium at Harvard. The book contains a story by Dickens among others. I am also putting images and links to some of Hearn's other books, but wanted to highlight The Victorian Fairy Tale Book today.

Book description:

From Robert Browning’s Pied Piper of Hamelin and William Makepeace Thackeray’s Rose and the Ring to Kenneth Grahme’s Reluctant Dragon and J. M. Barrie’s Peter Pan in Kensington Gardens, here are seventeen classic stories and poems from the golden age of the English fairy tale. Some of them amuse, some enchant, some satirize and criticize, but each one —in the words of Laurence Houseman, author of the classic Rocking Horse Land—“is an expression of the joy of living.”

Accompanied by the illustrations from the original editions of these works—by such celebrated Victorian artists as Dante, Gabriel Rossetti, Maxfield Parrish, and Arthur Rackham—this collection will delight readers both young and old.

Table of Contents:

Introduction

The King of the Golden River
by Josh Ruskin

The Pied Piper of Hamelin
by Robert Browning

The Rose and the Ring
by William Makepeace Thackeray

The Magic Fish-Bone
by Charles Dickens

Melilot
by Henry Morley

The Fairies
by William Allingham

The Little Lame Prince and His Travelling-Cloak
by Dinah Maria Mulock Craik

Goblin Market
by Christina Rossetti

The Necklace of Princess Fiorimonde
by Mary De Morgan

The Golden Key
by George MacDonald

The Stolen Child
by William Butler Yeats

The Selfish Giant
by Oscar Wilde

The Brown Owl
by Ford Madox Ford

Rocking-Horse Land
by Laurence Housman

The Reluctant Dragon
by Kenneth Grahame

The Deliverers of Their Country
by E. Nesbit

From Peter Pan in Kensington Gardens
by J.M. Barrie

About the Authors and Illustrators

Wednesday, October 24, 2012

Scary Tales: The Silk Nightcap



Here is today's scary tale, excerpted from Bluebeard Tales From Around the World (Surlalune Fairy Tale Series).

The Silk Nightcap

The following is excerpted from Charles Dickens’s “The Holly Tree” originally published in 1855 in his Christmas Stories. This excerpt contains two brief stories and the second is a Robber Bridegroom tale.

MY FIRST impressions of an Inn dated from the Nursery; consequently I went back to the Nursery for a starting-point, and found myself at the knee of a sallow woman with a fishy eye, an aquiline nose, and a green gown, whose specialty was a dismal narrative of a landlord by the roadside, whose visitors unaccountably disappeared for many years, until it was discovered that the pursuit of his life had been to convert them into pies. For the better devotion of himself to this branch of industry, he had constructed a secret door behind the head of the bed; and when the visitor (oppressed with pie) had fallen asleep, this wicked landlord would look softly in with a lamp in one hand and a knife in the other, would cut his throat, and would make him into pies—for which purpose he had coppers, underneath a trap-door, always boiling—and rolled out his pastry in the dead of the night. Yet even he was not insensible to the stings of conscience, for he never went to sleep without being heard to mutter, “Too much pepper!” which was eventually the cause of his being brought to justice.

I had no sooner disposed of this criminal than there started up another of the same period, whose profession was originally housebreaking; in the pursuit of which art he had had his right ear chopped off one night, as he was burglariously getting in at a window, by a brave and lovely servant-maid (whom the aquiline-nosed woman, though not at all answering the description, always mysteriously implied to be herself). After several years, this brave and lovely servant-maid was married to the landlord of a country Inn; which landlord had this remarkable characteristic, that he always wore a silk nightcap, and never would on any consideration take it off. At last, one night, when he was fast asleep, the brave and lovely woman lifted up his silk nightcap on the right side, and found that he had no ear there; upon which she sagaciously perceived that he was the clipped housebreaker, who had married her with the intention of putting her to death. She immediately heated the poker and terminated his career, for which she was taken to King George upon his throne, and received the compliments of royalty on her great discretion and valour.

Source:

Dickens, Charles. “The Holly-Tree Inn.” Household Words: Christmas Stories 1851-1858. London: Ward, Lock, and Tyler, n.d.


Monday, October 24, 2016

Bargain Ebook: Ray Bradbury's The Halloween Tree for $1.99



 

Below is my post from two years ago about Ray Bradbury's The Halloween Tree which is currently on sale in ebook edition for $1.99.

From 2014:

The Halloween Tree by Ray Bradbury: I wanted to recommend it as a great book that shares Halloween traditions with readers young and old. The folkloric content is of interest to the usual SurLaLune reader which is why I am sharing here. A dear friend loves the book and has written a much better post about the book and how it has become an annual part of her Halloween celebration at this post: The Halloween Tree. I missed recommending it here last year because it was too late when I thought of it. Why torture you with what you couldn't order in time to use for the holiday?

Book description:

Special indeed are holiday stories with the right mix of high spirits and subtle mystery to please both adults and children--Charles Dickens's "A Christmas Carol," for example. Or Ray Bradbury's classic The Halloween Tree. Eight boys set out on a Halloween night and are led into the depths of the past by a tall, mysterious character named Moundshroud. They ride on a black wind to autumn scenes in distant lands and times, where they witness other ways of celebrating this holiday about the dark time of year. Bradbury's lyrical prose whooshes along with the pell-mell rhythms of children running at night, screaming and laughing, and the reader is carried along by its sheer exuberance.

Bradbury's stories about children are always attended by dread--of change, adulthood, death. The Halloween Tree, while sweeter than his adult literature, is also touched at moments by the cold specter of loss--which is only fitting, of course, for a holiday in honor of the waning of the sun.

This is a superb book for adults to read to children, a way to teach them, quite painlessly, about customs and imagery related to Halloween from ancient Egypt, Mediterranean cultures, Celtic Druidism, Mexico, and even a cathedral in Paris. (One caveat, though: Bradbury unfortunately perpetuates a couple of misconceptions about Samhain, or summer's end, the Halloween of ancient Celts and contemporary pagans.) This beautiful reprint edition has the original black-and-white illustrations and a new color painting on the dust jacket. --Fiona Webster

Thursday, February 11, 2016

Bargain Ebook: The Book Lover's Cookbook: Recipes Inspired by Celebrated Works of Literature, and the Passages That Feature Them



The Book Lover's Cookbook: Recipes Inspired by Celebrated Works of Literature, and the Passages That Feature Them by Shaunda Kennedy Wenger and Janet Jensen is on sale for 99 cents in ebook format. No, there are not any fairy tales inside, but there are books that draw from fairy tales, like Lion, the Witch and the Wardrobe by C. S. Lewis and Jane Eyre by Charlotte Bronte. This has been on my wishlist for a while so I was thrilled to add the ebook version to my library for a buck. There is a treasure trove of books I love saluted within.

Book description:

Wake up to a perfect breakfast with Mrs. Dalby's Buttermilk Scones, courtesy of James Herriot's All Things Bright and Beautiful and Ichabod's Slapjacks, as featured in Washington Irving's The Legend of Sleepy Hollow. There's homey comfort food like Connie May's Tomato Pie, created with and inspired by Connie May Fowler (Remembering Blue); Thanksgiving Spinach Casserole (Elizabeth Berg's Open House); and Amish Chicken and Dumplings (Jodi Picoult's Plain Truth) . . . Sample salads, breads, and such soul-warming soups as Nearly-a-Meal Potato Soup (Terry Kay's Shadow Song); Mr. Casaubon' s Chicken Noodle Soup (George Eliot's Middlemarch); and Mrs. Leibowitz's Lentil-Vegetable Soup (Frank McCourt's Angela's Ashes) . . . After relishing appetizers and entrees, there's a dazzling array of desserts, including Carrot Pudding (Charles Dickens's A Christmas Carol); Effie Belle's Coconut Cake (Olive Ann Burns's Cold Sassy Tree); and the kids will love C.S. Lewis's Turkish Delight from The Lion, The Witch, and the Wardrobe.

Sprinkled throughout with marvelous anecdotes about writers and writing, The Book Lover's Cookbook is a culinary and literary delight, a browser's cornucopia of reading pleasure, and a true inspiration in the kitchen.

Shaunda Kennedy Wenger is author of two YA/MG novels: The Ghost in Me and Reality Bites, Tales of a Half-Vampire (2012 Book of the Year Award Finalist, ForeWord Reviews), as well as an award-winning chapter book: Little Red Riding Hood, Into the Forest Again. Her newest cookbook, From Rivets and Rails, Recipes of a Railroad Boarding House Cookbook, is based on the cookery journal of her great-grandmother. Her work has been published in Babybug, Ladybug, Wonder Years, ByLine, and Short-Short Stories for Reading Aloud (The Education Center, 2000). She regards her monthly book club meeting as one life's essential ingredients.

Janet Kay Jensen is author of Don't You Marry the Mormon Boys (Cedar Fort) and the upcoming Gabriel's Daughter's (Jolly Fish Press). She has received numerous awards for essays, poetry, and short stories, including three ByLine Magazine honorable mentions. A speech-language pathologist, she holds degrees from Utah State University and Northwestern University. She is writing a novel, teaches poetry classes to jail inmates, and is a literacy tutor. Married and the mother of three sons, she is a consultant at Utah State University.

TASTY RECIPES AND THE BOOKS THAT INSPIRED THEM

Jo's Best Omelette . . . Little Women by Louisa May Alcott
No Dieter's Delight Chicken Neapolitan . . . Thinner by Stephen King
Extra-Special Rhubarb Pie . . . The Persian Pickle Club by Sandra Dallas
Grand Feast Crab Meat Casserole . . . At Home in Mitford by Jan Karon
Persian Cucumber and Yogurt . . . House of Sand and Fog by Andre Dubus III
Tamales . . . Like Water for Chocolate by Laura Esquivel
Bev's No-Fuss Crab Cakes . . . Unnatural Exposure by Patricia Cornwell
Macaroni and Cheese . . . The Accidental Tourist by Anne Tyler
Veteran Split Pea Soup . . . The Red Badge of Courage by Stephen Crane
Alternative Carrot-Raisin-Pineapple Salad . . . Midwives by Chris Bohjalian
Summer's Day Cucumber-Tomato Sandwiches . . .
Women in Love by D. H. Lawrence
Refreshing Black Cows . . . The Book of Ruth by Jane Hamilton
Dump Punch . . . Pride and Prejudice by Jane Austen
Not Violet, But Blueberry Pie
. . . Charlie and the Chocolate Factory by Roald Dahl
Innocent Sweet Bread . . . The Bluest Eye by Toni Morrison
Daddy's Rich Chocolate Cake . . . Fatherhood by Bill Cosby


. . . and many other delectable dishes for the literary palate!

Wednesday, October 8, 2014

The Halloween Tree by Ray Bradbury



The Halloween Tree by Ray Bradbury is $3.63 in paperbook at Amazon and I wanted to recommend it as a great book that shares Halloween traditions with readers young and old. The folkloric content is of interest to the usual SurLaLune reader which is why I am sharing here. A dear friend loves the book and has written a much better post about the book and how it has become an annual part of her Halloween celebration at this post: The Halloween Tree. I missed recommending it here last year because it was too late when I thought of it. Why torture you with what you couldn't order in time to use for the holiday?

Book description:

Special indeed are holiday stories with the right mix of high spirits and subtle mystery to please both adults and children--Charles Dickens's "A Christmas Carol," for example. Or Ray Bradbury's classic The Halloween Tree. Eight boys set out on a Halloween night and are led into the depths of the past by a tall, mysterious character named Moundshroud. They ride on a black wind to autumn scenes in distant lands and times, where they witness other ways of celebrating this holiday about the dark time of year. Bradbury's lyrical prose whooshes along with the pell-mell rhythms of children running at night, screaming and laughing, and the reader is carried along by its sheer exuberance.

Bradbury's stories about children are always attended by dread--of change, adulthood, death. The Halloween Tree, while sweeter than his adult literature, is also touched at moments by the cold specter of loss--which is only fitting, of course, for a holiday in honor of the waning of the sun.

This is a superb book for adults to read to children, a way to teach them, quite painlessly, about customs and imagery related to Halloween from ancient Egypt, Mediterranean cultures, Celtic Druidism, Mexico, and even a cathedral in Paris. (One caveat, though: Bradbury unfortunately perpetuates a couple of misconceptions about Samhain, or summer's end, the Halloween of ancient Celts and contemporary pagans.) This beautiful reprint edition has the original black-and-white illustrations and a new color painting on the dust jacket. --Fiona Webster

Wednesday, August 13, 2014

Fairy Tale Highlights of the American Folklore Society's 2014 Annual Meeting




The American Folklore Society's Annual Meeting is coming soon and the deadline to register at a discounted rate is August 31st. The Society's 2014 annual meeting will be held November 5-8 at the Santa Fe Convention Center in Santa Fe, New Mexico. My own attendance is still undecided but I highly recommend attending as well as becoming a member of AFS if you are not already.

I've pulled the fairy tale related papers from the 56 page program. There is always plenty to hear and see at the meeting but highlighting fairy tale discussions is SurLaLune's purpose. Looking through the papers, you can see a definite influence of ABC's Once Upon a Time and others on the current scholarship. I REALLY want to hear these papers, too, so now I get to see if the personal budget and schedule will accommodate me!

01-05
Channeling Wonder I: Televising Fairy-Tale Genders
Sponsored by the Folk Narrative Section and the Women's Section
See also 02-05


Claudia M. Schwabe (Utah State University), chair
8:00 Kirstian Lezubski (University of Winnipeg), The Power to Revolutionize the World, or
Absolute Gender Apocalypse? Queering the New Fairy-Tale Feminine in Revolutionary Girl Utena
8:30 Shuli Barzilai (The Hebrew University of Jerusalem), Catherine Breillat's Rescripting of
Charles Perrault's "Bluebeard"
9:00 Brittany Warman (The Ohio State University), Hearing Her Song: Examining (Feminist?)
Messages in the "Briar Rose" Episode of the Japanese Anime Grimms' Fairy Tale Classics
9:30 Patricia Sawin (University of North Carolina, Chapel Hill), Things Walt Disney Didn't Tell
Us (But at Which Rodgers and Hammerstein at Least Hinted): The 1965 Made-for-TV Musical
Cinderella

02-05
Channeling Wonder II: Fairy-Tale (Un)Realities on Television
Sponsored by the Folk Narrative Section
See also 01-05


Pauline Greenhill (University of Winnipeg), chair
10:15 Jodi McDavid (Cape Breton University), Worlds Within Worlds: Depicting Fairy-tale
Superheroes in Children's Television
10:45 John Rieder (University of Hawai‘i, Manoa), The Fairy Tale and the Commercial:
Fractured Fairy Tales
11:15 Claudia M. Schwabe (Utah State University), Magic Realism in Grimm and Once Upon a
Time
11:45 Cristina Bacchilega (University of Hawai‘i, Manoa), The Fairy Tale and the Commercial:
The Italian Carosello

04-02
At the Crossroads of Folk Narrative, TV, and Gender


Jeana S. Jorgensen (Butler University), chair
8:00 Kim Snowden (University of British Columbia), "What's In the Basket Little Girl?":
Reading Buffy as Little Red Riding Hood
8:30 Linda Lee (University of Pennsylvania), Rehabilitating the Child-Stealing Witch:
Motherhood and Magic in ABC's Once Upon a Time
9:00 Jeana S. Jorgensen (Butler University), Gendering Lost Girl: Transforming Fairy-Tale and
Legend Intertexts in TV
9:30 Cristina Bacchilega (University of Hawai‘i), discussant

04-06
Theory II


Shandi Lynne Wagner (Wayne State University), chair
8:00 Anne Arundel Locker-Thaddeus (Texas A&M University), Comparison in a Crowded
Field: Choosing a Folk Narrative Analysis Technique
8:30 John Laudun (University of Louisiana), Counting Tales: Towards a Computational Model
of Narrative
9:00 Valdimar Tr. Hafstein (University of Iceland), Andersen and the Grimms: Authors,
Editors, Folk
9:30 Shandi Lynne Wagner (Wayne State University), The Intersection of Folklore and Fairy
Tale in the Ghostly Little Red Riding Hood of Elizabeth Gaskell's "Curious, If True" (1860)

06-07
New Scholarship on German and Russian Folk-Tale Studies


Jeanmarie Rouhier-Willoughby (University of Kentucky) and Linda Worley (University of
Kentucky), chairs
2:00 Ann Schmiesing (University of Colorado, Boulder), Disability and Able-Bodiedness in the
Grimms' Fairy Tales
2:20 Veronica Muskheli (University of Washington, Seattle), Unsettling Representation of the
Forest in Northern Russian Memorates
2:40 Zora Kadyrbekova (McGill University), Human-Animal Relationships in Russian Fairy
Tales
3:00 Qinna Shen (Miami University of Ohio), Little "Red" Riding Hood and Soviet Influence on
DEFA Fairy-Tale Films
3:20 Izabela Zdun (McGill University), The Fairy Tale Genre in Lyudmila Petrushevskaya's
Works: The Interplay between Literature and Folklore

06-13
Shakespeare and Spenser: Early Modern Adaptations of Folklore
Sponsored by the Medieval and Early Modern Folklore Section


Kerry Kaleba (independent), chair
2:00 Charlotte Artese (Agnes Scott College), "Like the Old Tale": Shakespeare as Folktale
Adapter
2:30 Sara Cleto (The Ohio State University), "Love, and Be Silent": Fairy Tale Conventions in
Shakespeare's King Lear
3:00 Joshua Commander (California State University, Stanislaus), The Hollow Christ, His
Brittle Glory, and His Sour Cross : An Examination of The Hollow Crown's Representation of
Shakespeare's Richard of Bordeaux as a Counterfeit of Christ
3:30 Amber N. Slaven (University of Louisiana, Lafayette), Continually at the Crossroads? The
Overlapping Liminality of Redcrosse Knight as a Fairy Changeling

08-17
Remapping 19th-Century Fairy Tales


Jennifer Schacker (University of Guelph), chair
10:15 Nancy Canepa (Dartmouth College), The Many Lives of Giambattista Basile's Neapolitan
Cunto
10:45 Christine A. Jones (University of Utah), Victorian Perrault, or the Birth of a Fairy
Godfather
11:15 Molly Clark Hillard (University of Seattle), Fairy Tales and Revolutions: Charles
Dickens's Bleak House
11:45 Jennifer Schacker (University of Guelph), Stage Folk: T. Crofton Croker's "Daniel O'
Rourke" at the Crossroads of Scholarship and Popular Culture

09-06
Diamond Session: At the Crossroads of Tales and Computers: Visualizing Fairy-Tale
Wonder through Filmographies and Computational Folkloristics


Jill T. Rudy (Brigham Young University), chair
2:00 Pauline Greenhill (University of Winnipeg), The International Fairy-Tale Filmography
(IFTF): Collaborating to Create a Digital Humanities Research Resource
2:10 Kendra Magnus-Johnston (University of Manitoba), Fairy Tales on TV: Archival
Methodologies for a Fairy-tale Teleography
2:20 Jill T. Rudy (Brigham Young University), Visualizing Fairy Tales on Television, or,
Everything Old is ATU Again
2:30 Madeleine Dresden (Brigham Young University), Glass Slippers and Small Screens: Rags
to Riches and the American Dream
2:40 discussion
3:00 Megan Armknecht (Brigham Young University), "Fractured Fairy Tales" and Rocky and
Bullwinkle for a Cold War Generation
3:10 Jessie Riddle (Brigham Young University), Red Hoods and Gold Locks: Motifs and Mash
Ups in Fairy-Tale Land
3:20 Kristy Stewart (Brigham Young University), Lost in the Genres: Hansel and Gretel across
TV Production Types

Monday, April 21, 2014

New Book: Spellbound: The Fairy Tale and the Victorians by Molly Clark Hillard



Spellbound: The Fairy Tale and the Victorians by Molly Clark Hillard was released a few weeks ago. I haven't seen a copy to review it yet, but it looks very interesting. The sections devoted to Sleeping Beauty and Little Red Riding Hood are especially compelling for me as well as the conclusion about Andrew Lang. Table of contents is listed below the book description.

Book description:

“In her promising new book, Molly Clark Hillard clearly shows how seemingly authorless fairy tales affected the way many Victorians saw the world. She argues that, though nostalgia for a world that probably never existed played a part in the Victorian reception of fairy tales, they were also intricately bound up in Victorian ways of thinking about politics, finance, and manufacturing.” —Elizabeth Wanning Harries, Helen and Laura Shedd Professor Emerita of Modern Languages, Smith College

“As Molly Clark Hillard convincingly reveals, the Victorians managed to make the fairy tale central to their understanding of their own progressive modernity by asserting its antiquated qualities, all while celebrating their modern distance from such things as fairy tales. I predict her book will have a broad relevance in fields from children’s literature studies and the emerging field of interdisciplinary childhood studies to nineteenth-century and comparative literature.” —Troy Boone, University of Pittsburgh

In examining the relationship between fairy tales and Victorian culture, Molly Clark Hillard concludes that the Victorians were “spellbound”: novelists, poets, and playwrights were self-avowedly enchanted by the fairy tale, and, at the same time, literary genres were bound to the fairy tale, dependent upon its forms and figures to make meaning. But these “spellbound” literary artists also feared that fairy tales exuded an originative power that pervaded and precluded authored work. Victorians resolved this tension by treating the form as a nostalgic refuge from an industrial age, a quaint remnant of the pre-literacy of childhood and peasantry. However, Spellbound: The Fairy Tale and the Victorians demonstrates that fairy stories, rather than operating outside of progressive modernity, significantly contributed to the language and images of industrial, material England. Hillard challenges the common critical and cultural misconception (originating with the Victorians themselves) that the fairy tale was a quaint and quiescent form.

Through close readings of the novels of Dickens, Eliot, and Charlotte Brontë; the poetry of Tennyson and Christina Rossetti; the visual artistry of Burne-Jones and Punch; and the popular theatricals of dramatists like Planché and Buckingham, Spellbound opens fresh territory into well-traversed titles of the Victorian canon. Hillard reveals that these literary forms were all cross-pollinated by the fairy tale and that their authors were—however reluctantly—purveyors of disruptive fairy tale matter over which they had but imperfect control.

Molly Clark Hillard is assistant professor of English at Seattle University.

Table of Contents:

Introduction: Nostalgia, Literacy, and the Fairy Tale 1

Part 1. Matter
1 The Novelist and the Collector 23
2 Pickwick Papers and the End of Miscellany 38
3 The Natural History of Thornfield 50
4 Antiquity, Novelty, and The Key to All Mythologies 61

Part 2. Spell
5 Sleeping Beauty and Victorian Temporality 77
6 Keats on Sleep and Beauty 82
7 “A Perfect Form in Perfect Rest”: Tennyson’s “Day Dream” 92
8 Burne-Jones and the Poetic Frame 108

Part 3. Produce
9 Fairy Footsteps and Goblin Economies 131
10 The Great Exhibition: Fairy Palace, Goblin Market 138
11 Rossetti’s Homeopathy 154

Part 4. Paraphrase
12 Little Red Riding Hood Arrives in London 173
13 Little Red Riding Hood’s Progress 179
14 Little Red Riding Hood and Other Waterside Characters 197

Conclusion: Andrew Lang, Collaboration, and Fairy Tale Methodologies 217

Notes 225

Bibliography 253

Index 266

Tuesday, January 14, 2014

Recent Book: Puss in Books by Catherine Britton


(US / UK Links)

Puss in Books by Catherine Britton was released last year in the US and in late 2012 in the UK. So it's not exactly new but it's not well known either. Since two chapters are devoted to Puss in Boots and Dick Whittington’s Cat as well as another chapter on The Cat and the Mouse in Partnership (the Grimms story), I thought it merited mention here.

Sidenote: And it reminds me that I am still considering a "Cats" title for the SurLaLune book series. Would there be interest in that here? I am not a cat lover, per se, but I do find their appearance in folklore fascinating. And I have a healthy collection of cat tales.

About the book:

Puss in Books is a celebration of feline wit, intelligence, aloofness and charm as presented through cats in books. Examples are taken from literature, folklore and popular culture. Feline references in books and manuscripts date from before 2000 BC in ancient Egypt, and since the introduction of cats to western households they have often inspired writers and artists - from the scribe of the Lindisfarne Gospels working in the 8th century to poets of the present day.

This selection includes cats in nursery rhymes (Hey Diddle Diddle and Ding Dong Bell); poetry by Thomas Gray (Ode on the Death of a Favourite Cat Drowned in a Tub of Gold Fishes) and T S Eliot (Old Possum's Book of Practical Cats); cats in fiction by Rudyard Kipling, Lewis Carroll and Charles Dickens; current characters such as Splat the Cat, and of course the ubiquitous Puss in Boots himself.

Wonderfully illustrated in colour throughout, this is an ideal gift for every cat lover.

About the author

Catherine Britton was a Senior Editor at the British Library and is the author of Dogs in Books (British Library, 2012).

Reviews

`Puss in Books tracks beloved cat characters like Lewis Carroll’s Cheshire Cat as illustrated by Sir John Tenniel, to Dr. Seuss’s Cat in the Hat... Britton takes the reader on a journey spanning famous felines throughout art and literature history.` Dorri Olds, Petside

Table of Contents:

Introduction

Egyptian Cats
The Lindisfarne Gospels Cat
Siamese Cats
Medieval Cats
Witches’ Cats
The Cat and the Fiddle from Hey Diddle Diddle
Ding Dong Bell
Christopher Smart’s cat Jeoffry from Jubilate Agno (Rejoice in the Lamb)
Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes
Cats and Royalty
Dick Whittington’s Cat
The Cat and the Mouse in Partnership
Puss in Boots
Lady Jane from Bleak House
Simpkin from The Tailor of Gloucester
The Owl and the Pussycat
The Cheshire Cat from Alice in Wonderland
The Black Cat
The Cat That Walked by Himself
The Boy Who Drew Cats
The Cat in the Hat by Dr. Seuss
Old Possum’s Book of Practical Cats
Orlando the Marmalade Cat
Fat Freddy’s Cat
Have You Seen My Cat? by Eric Carle
101 Uses of a Dead Cat
Simon’s Cat
Splat the Cat

Index
Picture Sources
Acknowledgements

Tuesday, March 19, 2013

New Book: Queen Victoria's Book of Spells: An Anthology of Gaslamp Fantasy



Queen Victoria's Book of Spells: An Anthology of Gaslamp Fantasy edited by Ellen Datlow and Terri Windling is released today. Looks like a few stories might have a fairy tale spin to them, too, but won't know until I read it myself!

Book description:

“Gaslamp Fantasy,” or historical fantasy set in a magical version of the nineteenth century, has long been popular with readers and writers alike. A number of wonderful fantasy novels, including Stardust by Neil Gaiman, Jonathan Strange and Mr Norrell by Susanna Clarke, and The Prestige by Christopher Priest, owe their inspiration to works by nineteenth-century writers ranging from Jane Austen, the Brontës, and George Meredith to Charles Dickens, Anthony Trollope, and William Morris. And, of course, the entire steampunk genre and subculture owes more than a little to literature inspired by this period.

Queen Victoria’s Book of Spells is an anthology for everyone who loves these works of neo-Victorian fiction, and wishes to explore the wide variety of ways that modern fantasists are using nineteenth-century settings, characters, and themes. These approaches stretch from steampunk fiction to the Austen-and-Trollope inspired works that some critics call Fantasy of Manners, all of which fit under the larger umbrella of Gaslamp Fantasy. The result is eighteen stories by experts from the fantasy, horror, mainstream, and young adult fields, including both bestselling writers and exciting new talents such as Elizabeth Bear, James Blaylock, Jeffrey Ford, Ellen Kushner, Tanith Lee, Gregory Maguire, Delia Sherman, and Catherynne M. Valente, who present a bewitching vision of a nineteenth century invested (or cursed!) with magic.

And Table of Contents:

Preface Ellen Datlow and Terri Windling
Introduction Terri Windling
The Fairy Enterprise by Jeffrey Ford
From the Catalogue of the Pavilion of the Uncanny and Marvelous, Scheduled for Premiere at the Great Exhibition (Before the Fire) by Genevieve Valentine
The Memory Book by Maureen McHugh
Queen Victoria’s Book of Spells by Delia Sherman
La Reine D’Enfer by Kathe Koja
For the Briar Rose by Elizabeth Wein
The Governess by Elizabeth Bear
Smithfield by James P. Blaylock
The Unwanted Women of Surrey by Kaaron Warren
Charged by Leanna Renee Hieber
Mr. Splitfoot by Dale Bailey
Phosphorus by Veronica Schanoes
We Without Us Were Shadows by Catherynne M. Valente
The Vital Importance of the Superficial by Ellen Kushner and Caroline Stevermer
The Jewel in the Toad Queen’s Crown by Jane Yolen
A Few Twigs He Left Behind by Gregory Maguire
Their Monstrous Minds by Tanith Lee
Estella Saves the Village by Theodora Goss

Friday, November 30, 2012

Lots of Bargain Ebooks


I think we've established that my relaxation time involves lots and lots of reading. So does my work time. Hmmm... Anyway, this time of year offers lots of ebook bargains and I thought I'd share some previously discussed on the blog or by known favorite authors. There's probably at least one here you want--there were several for me...


Howl's Moving Castle (Howl's Castle) by Diane Wynne Jones is $1.99. On my ebook wishlist.

Book description:

Sophie has the great misfortune of being the eldest of three daughters, destined to fail miserably should she ever leave home to seek her fate. But when she unwittingly attracts the ire of the Witch of the Waste, Sophie finds herself under a horrid spell that transforms her into an old lady. Her only chance at breaking it lies in the ever-moving castle in the hills: the Wizard Howl's castle. To untangle the enchantment, Sophie must handle the heartless Howl, strike a bargain with a fire demon, and meet the Witch of the Waste head-on. Along the way, she discovers that there's far more to Howl—and herself—than first meets the eye.


Dodger by Terry Pratchett is $2.99. Pratchett!

Book description:

A storm. Rain-lashed city streets. A flash of lightning. A scruffy lad sees a girl leap desperately from a horse-drawn carriage in a vain attempt to escape her captors. Can the lad stand by and let her be caught again? Of course not, because he's . . . Dodger.

Seventeen-year-old Dodger may be a street urchin, but he gleans a living from London's sewers, and he knows a jewel when he sees one. He's not about to let anything happen to the unknown girl—not even if her fate impacts some of the most powerful people in England.

From Dodger's encounter with the mad barber Sweeney Todd to his meetings with the great writer Charles Dickens and the calculating politician Benjamin Disraeli, history and fantasy intertwine in a breathtaking account of adventure and mystery.

Beloved and bestselling author Sir Terry Pratchett combines high comedy with deep wisdom in this tale of an unexpected coming-of-age and one remarkable boy's rise in a complex and fascinating world.


Angelfall (Penryn & the End of Days) by Susan Ee is $1.66.

Book description:

It’s been six weeks since angels of the apocalypse descended to demolish the modern world. Street gangs rule the day while fear and superstition rule the night. When warrior angels fly away with a helpless little girl, her seventeen-year-old sister Penryn will do anything to get her back. Anything, including making a deal with Raffe, an injured enemy angel. Traveling through a dark and twisted Northern California, they journey toward the angels’ stronghold in San Francisco, where Penryn will risk everything to rescue her sister and Raffe will put himself at the mercy of his greatest enemies for the chance to be made whole again.


Carnival of Souls by Melissa Marr is $1.99.

Book description:

In a city of daimons, rigid class lines separate the powerful from the power-hungry. And at the heart of The City is the Carnival of Souls, where both murder and pleasure are offered up for sale. Once in a generation, the carnival hosts a deadly competition that allows every daimon a chance to join the ruling elite. Without the competition, Aya and Kaleb would both face bleak futures—if for different reasons. For each of them, fighting to the death is the only way to try to live.

All Mallory knows of The City is that her father—and every other witch there—fled it for a life in exile in the human world. Instead of a typical teenage life full of friends and maybe even a little romance, Mallory scans quiet streets for threats, hides herself away, and trains to be lethal. She knows it's only a matter of time until a daimon finds her and her father, so she readies herself for the inevitable.
While Mallory possesses little knowledge of The City, every inhabitant of The City knows of her. There are plans for Mallory, and soon she, too, will be drawn into the decadence and danger that is the Carnival of Souls.

From Melissa Marr, bestselling author of the Wicked Lovely series and Graveminder, comes a brand-new tale of lush secrets, dark love, and the struggle to forge one's own destiny.

 

Wildwood by Colin Meloy is $1.99.

Book description:

Prue McKeel’s life is ordinary. At least until her baby brother is abducted by a murder of crows. And then things get really weird.
You see, on every map of Portland, Oregon, there is a big splotch of green on the edge of the city labeled “I.W.” This stands for “Impassable Wilderness.” No one’s ever gone in—or at least returned to tell of it.

And this is where the crows take her brother.

So begins an adventure that will take Prue and her friend Curtis deep into the Impassable Wilderness. There they uncover a secret world in the midst of violent upheaval, a world full of warring creatures, peaceable mystics, and powerful figures with the darkest intentions. And what begins as a rescue mission becomes something much bigger as the two friends find themselves entwined in a struggle for the very freedom of this wilderness.

A wilderness the locals call Wildwood.

Wildwood is a spellbinding tale full of wonder, danger, and magic that juxtaposes the thrill of a secret world and modern city life. Original and fresh yet steeped in classic fantasy, this is a novel that could have only come from the imagination of Colin Meloy, celebrated for his inventive and fantastic storytelling as the lead singer of the Decemberists. With dozens of intricate and beautiful illustrations by award-winning artist Carson Ellis, Wildwood is truly a new classic for the twenty-first century.


Soulless (The Parasol Protectorate) by Gail Carriger is $1.99.

Book description:

Alexia Tarabotti is laboring under a great many social tribulations. First, she has no soul. Second, she's a spinster whose father is both Italian and dead. Third, she was rudely attacked by a vampire, breaking all standards of social etiquette.

Where to go from there? From bad to worse apparently, for Alexia accidentally kills the vampire -- and then the appalling Lord Maccon (loud, messy, gorgeous, and werewolf) is sent by Queen Victoria to investigate.

With unexpected vampires appearing and expected vampires disappearing, everyone seems to believe Alexia responsible. Can she figure out what is actually happening to London's high society? Will her soulless ability to negate supernatural powers prove useful or just plain embarrassing? Finally, who is the real enemy, and do they have treacle tart?

SOULLESS is a comedy of manners set in Victorian London: full of werewolves, vampires, dirigibles, and tea-drinking.


The Historian by Elizabeth Kostova is $2.99.

Book description:

To you, perceptive reader, I bequeath my history....Late one night, exploring her father's library, a young woman finds an ancient book and a cache of yellowing letters. The letters are all addressed to "My dear and unfortunate successor," and they plunge her into a world she never dreamed of-a labyrinth where the secrets of her father's past and her mother's mysterious fate connect to an inconceivable evil hidden in the depths of history.The letters provide links to one of the darkest powers that humanity has ever known-and to a centuries-long quest to find the source of that darkness and wipe it out. It is a quest for the truth about Vlad the Impaler, the medieval ruler whose barbarous reign formed the basis of the legend of Dracula. Generations of historians have risked their reputations, their sanity, and even their lives to learn the truth about Vlad the Impaler and Dracula. Now one young woman must decide whether to take up this quest herself-to follow her father in a hunt that nearly brought him to ruin years ago, when he was a vibrant young scholar and her mother was still alive. What does the legend of Vlad the Impaler have to do with the modern world? Is it possible that the Dracula of myth truly existed-and that he has lived on, century after century, pursuing his own unknowable ends? The answers to these questions cross time and borders, as first the father and then the daughter search for clues, from dusty Ivy League libraries to Istanbul, Budapest, and the depths of Eastern Europe. In city after city, in monasteries and archives, in letters and in secret conversations, the horrible truth emerges about Vlad the Impaler's dark reign-and about a time-defying pact that may have kept his awful work alive down through the ages.Parsing obscure signs and hidden texts, reading codes worked into the fabric of medieval monastic traditions-and evading the unknown adversaries who will go to any lengths to conceal and protect Vlad's ancient powers-one woman comes ever closer to the secret of her own past and a confrontation with the very definition of evil. Elizabeth Kostova's debut novel is an adventure of monumental proportions, a relentless tale that blends fact and fantasy, history and the present, with an assurance that is almost unbearably suspenseful-and utterly unforgettable.