Fairytales and Modern Storytelling

This is my collection of fairytale links. I’m interested in fairytales from a writing perspective — how do fairytales help us to create new, contemporary stories?

TWO OF THE MOST IMPORTANT ELEMENTS OF FAIRYTALES

the “serene, anonymous” voice in which it’s told
the “conventional, stock figures” who inhabit it.

This is according to American poet James Merrill , as described at the opening of “The Book of Ephraim”.

THE ENDURING APPEAL OF CERTAIN FAIRYTALES

Boy George has said that the difference between a pop song and an unpopular song is repetition. The same can be said of many popular things, including fairy tales.

Many fairytales are harrowing. Nothing written fresh today would get published and heavily marketed for children if it included cannibalism and other child abuse. Yet many of us still read Hansel and Gretel to our children before bedtime. Perhaps my real question is: Why are popular fairytales so awful, and why are they still here?

Conservative Ethics

Fairytales do not become mythic unless they are in almost perfect accord with the underlying principles of how the male members of society seek to arrange object relations to satisfy their wants and needs.
Jack Zipes

The ethics of a fairytale are not completely static; they do evolve somewhat with the times.

As they spread, folktales evolve like biological species, from The Conversation

Pacing

Celerity: swiftness is a great virtue in the fairy tale. A good tale moves with a dreamlike speed from event to event, pausing only to say as much as is needed and no more. The best tales are perfect examples of what you do need and what you don’t: in Rudyard Kipling’s image, fires that blaze brightly because all the ashes have been raked out.
The opening of a tale, for example. All we need is the word ‘Once . . .’ and we’re off […]
The speed is exhilarating. You can only go that fast, however, if you’re travelling light; so none of the information you’d look for in a modern work of fiction – names, appearances, background, social context, etc – is present.
Philip Pullman

Comfort

Modern publishers know how most picturebooks are read: at night, by parents, to put their children to sleep. Harrowing as the content may be, a home-away-from home structure is considered essential for putting young kids to sleep, and fairytales provide just that. (At least, the enduring ones that get published over and over again.)

FAIRYTALE ANALYSIS AT THIS BLOG

MODERN FAIRYTALES

Myths and folktales are assumed to be the very first stories in the history of humankind, closely related to rites of passage. Thus, a fairytale becomes a travel instruction for a young person on the way toward adulthood, directions on exactly how to behave in various situations. […] The hero’s task in a folktale is totally impossible for an “ordinary” human being, it is always a symbolic or allegorical depiction. Allegories (like Dante’s Divina Commedia or Bunyan’s Pilgrim’s Progress) are also travel instructions. But the addressee knows that you cannot die and then rise from the dead, nor be eaten by a whale and then come out again, nor descend into the realm of death, and so on. When the March sisters try to follow Bunyan’s instructions for a journey, they have to “translate” the allegory into more everyday conditions. […] The modern version of a travel instruction is formula fiction in all its forms: crime novel, science fiction, horror, romance, soap opera, and so on. The addressee of these texts also knows that the story has very little to do with life. On the contrary, the text is based on detachment, especially through its exotic settings and incredible events. Many scholars have noted the similarities between fairytales and formula fiction. As early as the 1920s Propp suggested that his model for folktale analysis could be applied to novels of chivalry and other texts with fixed narrative structures.
Maria Nikolajeva, From Mythic to Linear: Time in Children’s Literature