A fractured fairy tale is a story which makes use of a traditional fairy tale but restructures and reimagines, with the aim of greater nuance and with a contemporary sensibility in mind. The writer might be offering a critique of the ideas offered up in an earlier version. This makes some of them subversive. Fractured fairy tales are often aimed at an adult audience, though they’re common in children’s literature as well.
See this post on Postmodern Picturebooks. Fractured fairytales are postmodern.
Sometimes called parodies or transformed tales, fractured tales are humorous or exaggerated imitations of an author, a particular traditional tale, or a style. Fractured tales are currently popular in picture book format. Beginning with The True Story of the 3 Little Pigs (1989). Jon Scieszka and Lane Smith began a trend that shows no sign of abating. Traditional tales from “Little Red Riding Hood” to the “Three Little Pigs” to “The House That Jack Built” have been retold in a humorous vein in picture book format. Picture book examples are The Dinosaur’s New Clothes (1999), illustrated by Diane Goode; Little Red Riding Hood: A New Fangled Prairie Tale (1995), illustrated by Lisa Campbell Ernst; The Little Red Hen Makes a Pizza (1999), illustrated by Amy Walrod: and Beauty and the Beaks: A Turkey’s Cautionary Tale (2007), illustrated by Mary Jane Auch.A Picture Book Primer: Understanding and Using Picture Books By Denise I. Matulka
Another standout example of a fractured fairytale picture book, mentioned often by literature academics: The Stinky Cheese Man and Other Fairly Stupid Tales by Scieszka and Smith. The story’s aim is meta, drawing the reader’s attention to the fact that these are just stories, and whatever meaning they seem to imply should be interrogated. The ‘meaning’ of these ‘stupid tales’ is constructed by the reader.
When classic tales are revisioned to deliberately poke fun at the form, we call them ‘fractured’, but classic tales are always, forever undergoing evolution, even when the re-teller doesn’t intend any changes:
Retelling stories is about as old as storytelling itself. Each generation’s storytellers takes elements from stories they heard as children. They’ll mash those elements with their own ideas and suddenly the story becomes something completely new. No story has survived untouched throughout the ages — even the so-called “classic” fairy tales do this. If you’re familiar with the Greek story of Cupid and Psyche there are an awful lot of similar elements from that tale in the French story “Beauty and the Beast” as well as in “Cinderella.” And elements of “Beauty and the Beast” also turn up in the Norse tale “East of the Sun, West of the Moon.” Storytellers love to take familiar plots and give them a twist. When you take an existing story and adapt it for your own you are making a connection — a connection with every storyteller who told their own version of that story, and a connection with every audience that has loved some variation of that story. It allows the writer to create a kind of shorthand with the audience — if you like “x,” then you’ll find familiar things in this new version of the story. We take comfort in the familiar and relish the new that’s mixed in, and something fresh and original is created from that mixture.Christina Henry
Fractured fairy tales can be of any genre, written for any demographic:
- Fantasy — Most recently we’ve had a lot of dark fantasy
- Horror — Horror has gone hand-in-hand with the dark fantasy. In horrors, villains such as witches don’t tend to have a back story — they serve as the evil force.
- Dramatic musical
- Comedy (Parody)
Fractured fairy tales are very popular at the moment, for young adults and adults. In film and television there was a proliferation between 2010 and 2016, and many of these are available on Netflix, for example.
- Into The Woods — a stage play running for two years from 2002 by Steven Sondheim which weaves Grimm and Perrault tales together; produced for screen during the ‘proliferation’ period.
- Once Upon A Time
- Shrek — This franchise takes a classic monster from a fairytale (the ugly ogre) and turns him into a sympathetic character.
- Beastly — a retelling of the fairytale Beauty and the Beast and is set in modern-day New York City.
- Maleficent — a retelling of Sleeping Beauty from the evil fairy’s point of view.
- Hansel and Gretel — horror
- Witch Hunters — horror
- Snow White and the Huntsmen — horror
- Half Baked — horror
Three Types Of Fractured Fairytale
The Cross-over Narrative
Cross-over fractured fairytales intersect various fairy tales to create one big story. Examples are Into the Woods, Once Upon a Time and Grimm.
Subversive fractured fairy tales force the viewer to look at a familiar story from a unique perspective. Examples are Beastly and Maleficent. Often these subversive tales take on the narrative point of view from a different angle — perhaps the viewpoint character is the villain, recast as a sympathetic character. It’s rare for witches to have backstories in the traditional tales, but modern fractured retellings often give us the witch’s perspective.
Many tales which aim to be subversive nevertheless uphold traditional ideas:
- Youth is beauty
- Age is ugly and to be avoided
- It’s not so bad being ugly, but your ugliness still prevents you from marrying someone beautiful (Shrek)
Moral relativism is the view that moral judgments are true or false only relative to some particular standpoint (for instance, that of a culture or a historical period) and that no standpoint is uniquely privileged over all others. Subversive fractured fairy tales tend to take this view. Sure, Maleficent is evil, but once we know her back story, the morality changes. A common technique in retelling old tales from different perspectives is to name previously unnamed characters.
Naming has primary importance as a way of determining a being’s subjectivity. [A character’s namelessness] reinforces his lack of an existence, his lack of agency.Roberta Seelinger Trites, Waking Sleeping Beauty
So wicked witches are named, Cinderella is known to us by her more familiar name, Ella and so on. Subversive tales can be juxtaposed against another type of ‘re-visioning’, described by Jack Zipes:
There are literally hundreds of publishers who produce and market cheap versions of the Grimms’ tales as pretexts to conceal their profit-making motives. These duplications merely reinforce static nations of the nineteenth-century fairy tales and leave anachronistic values and tastes unquestioned. Whatever changes are made in these duplications—and changes are always made—they tend to be in the name of an ignorant conservatism that upholds arbitrary notions of propriety, for many people believe that there is such a thing as a “proper” Grimms’ fairy tale. In contrast, the reversions of the Grimms’ pre-texts, to use the terms coined by Stephens and McCallum, adulterate the Grimms’ tales by adding ingredients, taking away some elements, and reconstructing them to speak to contemporary audiences in different sociocultural contexts.Jack Zipes, Sticks and Stones
Inspired fractured fairy tales are only loosely based on traditional stories. Examples are Hansel and Gretel (the film), Witch Hunters, Snow White and the Huntsman.
Jane Campion’s The Piano is loosely inspired by “Bluebeard“, but is nonetheless obvious with the play-within-a-play structure. Robin Black’s short story “Pine” is even more loosely Bluebeard-ish, but still there. These things sit on a continuum.
Angela Carter often uses a title as clue to her inspiration, but then blows away the plot. Carter’s “Erl-King” is inspired by Goethe’s poem without adhering to the original beats.
Hello! Project’s Minimoni starred in a drama based on “The Musicians Of Bremen“. In Japanese it’s called Mini Moni.de Bremen no Ongakutai (Mini Moni’s Bremen Town Musicians). This adaptation goes backwards in time through three periods of Japanese history unveiling the story. The drama is inspired by the Bremen tale but does not have much in common with it.
FREE FRACTURED FAIRY TALES
See also “Lotta: Red Riding Hood“, co-written with a friend of mine. We humanise Little Red Riding Hood by giving her a name.