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http://windling.typepad.com/blog/2013/04/fairy-tales.html
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http://windling.typepad.com/blog/2013/04/fairy-tales.html
From a discussion with Joanne Harris (author of Chocolat, etc.) in the current issue of The Write Place at The Write Time:
"Traditionally, the role of fairy stories has been to articulate concepts too emotionally difficult or socially subversive to be treated in a
more explicit way. Originally part of a matriarchal oral tradition, they became legitimized as a more patriarchal literary convention -much in the same way that traditional magic (feminine) was later absorbed by the (primarily male) science of alchemy before shedding
its magical elements altogether and becoming the science of chemistry.
"Elemental fears, subconscious desires, sexual taboos are all at the heart of the fairytale; initially intended for an adult, rather than a
juvenile audience, enabling folk with bleak and often unhappy lives to come to terms with their monsters, both literal and
metaphorical, as well as offering them the hope that sometimes those monsters could be overcome. Since then, much has been made
of the deepening division between the literal and figurative view of fairytale (in the same way that the division between science and
magic has now become definitive), but in my view, the basic need for these stories is as great as it ever was.
"Like our concept of the divine, which has expanded over 2000 years to fit an expanding world picture, our acceptance of the
supernatural has changed -- at least, to a point -- although I would argue that even three hundred years ago, fairy tales were not
intended to be taken entirely literally. Every age has its monsters, be they werewolves, vampires, terrorists, AIDS, crazed gunmen or
pedophiles, and every age needs to believe in the ability of human beings to defeat monsters, change their lives and ultimately be saved
by love.
"I would argue, furthermore, that every age has its magic, too -- although our concept of magic has adapted to fit a more rational world.
We now have a need to rationalize our need to believe in magic, as our world picture and our understanding of possibility continues to
expand. But as the science-pendulum begins to swing back -- with particle physics seemingly bringing us back ever closer to what once
was called 'magic,' I think that the literal-figurative debate will become increasingly less relevant, as will the division between
'conventional literature' and the oral tradition. These stories speak to the irrational mind, and therein lies their power."
(I recommend reading the whole interview here.)
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3 of 9
http://windling.typepad.com/blog/2013/04/fairy-tales.html
From a discussion with me in the same web journal a few years back:
"As with myths and folk tales, a good fantasy novel is literally spell-binding, using language to conjure up whole new worlds, or to
invest our own with magic. The particular power of the fantasy novel comes from its link with the world's most ancient stories and
from the author's careful manipulation of mythic archetypes, story patterns, and symbols. A skillful writer of fantasy knows he or she
must tell two stories at once: the surface tale, and a deeper story encoded within the tale's symbolic language. Harry Potter and The
Sorcerer's Stone (for example) is, on one level, simply an English boarding school novel with a bit of magic thrown in; but below that
surface is a classic narrative of the Orphaned Hero archetype. This second, metaphorical story is the one that makes the novel's appeal
so universal, speaking to all children (orphaned or not) who navigate the treacherous passage that lies between childhood and
adulthood. I don't mean that children's fantasy should be didactic, with a subtext intended to inculcate moral lessons heaven forbid!
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http://windling.typepad.com/blog/2013/04/fairy-tales.html
But the magical tropes of fantasy, rooted as they are in world mythology, come freighted with meaning on a metaphoric level. A
responsible writer works with these symbols consciously and pays attention to both aspects of the story.
"Jane Yolen once wrote, 'Just as a child is born with a literal hole in his head, where the bones slowly close underneath the fragile
shield of skin, so the child is born with a figurative hole in his heart. What slips in before it anneals shapes the man or woman into
which that child will grow. Story is one of the most serious intruders into the heart.' I believe that those of us who write stories for
children or young adults should remember how powerful stories can be -- and take responsibility for the moral tenor of whatever
dreams or nightmares we're letting loose into the world. This is particularly true in fantasy, where the tools of our trade include the
language, symbolism and archetypal energies of myth. These are ancient, subtle, potent things, and they work in mysterious ways."
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http://windling.typepad.com/blog/2013/04/fairy-tales.html
And from Ursula K. Le Guin's classic essay From Elfland to Poughkeepsie (1973):
"[Fantasy] is not anti-rational, but para-rational; not realistic but surrealistic, superrealistic, a heightening of reality. In Freuds
terminology, it employs primary not secondary process thinking. It employs archetypes which, as Jung warned us, are dangerous
things. Dragons are more dangerous, and a good deal commoner, than bears. Fantasy is nearer to poetry, to mysticism, and to insanity
that naturalistic fiction is. And it is a real wilderness, and those who go there should not feel too safe. And their guides, the writers of
fantasy, should take their responsibilities seriously."
Your thoughts?
The sculptures
here, of course, are by the UK artist Su Blackwell -- for no look at paper art this week would be complete without re-visiting her splendid work. From top to bottom:
"The Raven," "The Frog Prince," "Sleeping Beauty," "The Woman in the Wood," "Cinderella," "The Wild Swans," and "Out of Narnia." Jane's quote above comes from
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http://windling.typepad.com/blog/2013/04/fairy-tales.html
in Book & paper arts, Books, Fairy tales, Favorite quotes, On writing, Recommended Art | Permalink
Comments
charlotte hills said...
I could not agree more. Again, again should be the cry after every good tale well told. I love Jane's comments, agreeing with them
whole (I hope) heartedly. In yesterdays comment I mentioned that we leave stories out of children's lives and risk leaving out part of
their hearts. I think we need to extend this to adults as well. The adults who have lost touch with stories have a part of their heart
breaking. Stories are the glue that stick us together as a group, whether that be as family, school or society. The idea that we grow out
of fairy tales is insidious as it suggests we have offered them as children's stories only.
Reply Thursday, April 25, 2013 at 07:34 AM
Stuart Hill said...
The artwork here is deeply beautiful and the articles perceptive and thought-provoking, but I do take exception to a sweeping
generalisation in which it's asserted that both the oral tradition and magic are female. There was of course the well known Wise
Woman in medieval European society, but there was also her male counterpart known as the Cunning Man, (who was by no means as
rare as some seem to believe). Also it has to be stated that the tradition of Shamanism is certainly not lacking in male practitioners.
As for the oral tradition, quite apart from many of us being familiar with the garrulous old granddad who told many a tall tale, let us
not forget Homer the true Grand Father of European story telling, and the other Greek Aioidos who spread the tales of Greek heroes
throughout the land. Also within the Serbian tradition there was the 'Guslar' often male and the 'Manaschi' in Kyrgyz society. Other
traditions I am sure had their male practitioners.
it may seem to many that I've gone "off piste" in my reaction to this posting, but I'd like to say that I find today's casual misandry as
offensive as the misogyny that women so rightly fight against. The oral tradition and practice belong to all people of our global society
not just one section of it.
Reply Thursday, April 25, 2013 at 07:34 AM
Terri Windling said in reply to Stuart Hill...
I don't believe that's what Joanne is saying. She's never stated here that the *entire* oral tradition is female, which of course it's not.
There is indeed a very rich and lengthy oral tradition for all kinds of magical tales, not just fairy tales: myths, legends, hero tales, epics,
etc., told by both sexes. Historically, most professional storytellers were men -- they were the most able to travel to ply their trade, or to
find patrons among the aristocracy. (The bardic tradition, for example, with only extremely rare exceptions, was an exclusively male
one.) Plus, as you point out, there is a male shamanic tradition dating back to pre-Christian Europe which is entwined with folktales of
many kinds. But that's not what she's discussing here.
She's talking, as she states, about fairy tales, a very specific portion of the oral tradition, and that *is* historically a largely female
domestic tradition (at least in the West). It should be possible to discuss this historical reality without this implying that men are being
slighted, just as it's possible to talk about the gendered context of male initiation tales (for example) without implying that women are
being slighted.
As for magic: she is making a comparison between the history of fairy tales in the West (as they moved from the oral tradition to print)
with the history of magic in the West (as it moved from "natural magic" [a.k.a. "folk magic"] as the dominant strain to "scholarly
magic" -- to use the terms by which scholars of the history of Western Esotericism refer to these two strands). In this, again, I feel
she's not wrong, for "natural magic" was largely (though by no means *entirely*) a women's tradition in the West, whereas "scholarly
magic" (hermetic philosophy, alchemy, etc. etc...the forerunners of chemistry), which flourished from roughly the Renaissance
onward, and which required access to books and education that was out of reach for most women at that time, was a distinctly male
preserve. She's comparing this to the way that male writers/editors like Basile, Straparola, Perrault, and the Brothers Grimm came to
dominate the fairytale field at the point where it turned from an oral to a literary tradition. It's a broad comparison, and like any broad
comparison one can come up with specific examples that don't fit it, but it's nonetheless fair of her, I think, to compare the two. I don't
think that makes Joanne a misandrist. (I take your point that she could have been clearer about precisely what she meant by "magic,"
and perhaps if this had been an essay rather than a short interview, she might have been.)
To acknowledge the gendered history of these things (where the history is known) is not to say that any of these "belong" exclusively to
either gender, but simply to acknowledge the historical forces that shaped them. Certainly in the last couple of centuries women have
been a greater force (if not yet an equal force) in alchemical fields like chemistry and physics, while "natural magic" fields like
herbalism are no longer dominated by women. (*Waves at Joel.*) And when it comes to magical tales (both oral and literary) today, I'm
very pleased that both genders are well represented...
...though I'd argue that in a survey of contemporary writers of magical fiction, more women than men work with specifically fairy tale
material, whereas male writers, in the fantasy field and elsewhere, are more likely to mine the other areas of the oral tradition: myth,
epic, hero tales and so forth.
Reply Thursday, April 25, 2013 at 10:57 AM
11/17/2014 2:51 AM
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