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Fables, fées (contes de), folklore (légendes)Essais, Anthologies
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Une première partie traite de l'utilité ethnographique de la menterie sous le titre "Le pacte narratif ou l'institution de la…
menterie". L'auteur nous présente ensuite le répertoire partiel de quatre conteurs traditionnels du Saguenay-Lac-Saint-Jean, aujourd'hui décédés. [SDM
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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"All great novels are great fairy tales," wrote Vladimir Nabokov many years ago, and Fairy Tale Review continues to believe…
that all great literary works owe everything to fairy tales. In this issue you will find work represented that draws from the spectacular, old tradition of fairy tales in brilliant new ways. An increased understanding of the precise and incredible fairy-tale techniques, so wonderfully elucidated by the scholar Max Luthi, but expanded, in the aesthetic of Fairy Tale Review, to contemporary literature across the styles and genres, may help resolve the unfortunate schisms that sometimes arise between so-called mainstream and avant-garde writers and critics. In this issue you will find work across so many such borders; some of the writing refers to specific fairy tales, but much of it simply feels like a fairy tale; and how it feels like a fairy tale is through language, through form. Please spread the word that fairy tales are the newest and oldest aesthetic; and they give our lives fearful, beautiful shape. Form is fairy tale, fairy tale is form.
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Fables, fées (contes de), folklore (légendes)Essais
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The Translucent Issue is a break from tradition. In some ways, colors are an easier, more obvious entry point into…
the world of fairy tales. It is not transparent, and thus never explicit on the page—the Brothers Grimm rarely editorialized—but then again psychology is rarely explicit. It is a partial view, one that permits shape and light, but not clarity, not exactness; it is a half-truth, one that includes what is as often as it includes what could be; it is the fantasy of wish, and the dubious luxury of pretense. Fairy-tale psychology is not clarified through the use of interiority or analysis, but by situation, circumstance. It is illuminated by what is seen and, just as importantly, what is not.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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Mauve is a new word with old roots. The color's earlier incarnations--Tyrian purple (given for the shade of Roman emperors'…
cloaks) and aniline purple--were abandoned when, to increase the popularity of Perkin's dye, its sellers named the color after a French flower called the mallow. When we consult the dictionary, it tells us that the mallow is a herbaceous plant with hairy stems and pink or purple flowers. Its fruit comes shaped in wedges and so it is nicknamed the cheese plant. Mallows are grown as ornamentals, and mallows are grown as edibles. Some are for looking at, others are for eating. We want this issue to be both--a mallow, a marsh, a cake that defies old proverbs. Gaze at it. Eat it too. Consume, ravage, devour it. Why, go ahead and try it on, walk around in it as long as you like. Either way, we promise you'll look ravishing.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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The Aquamarine Issue is the fifth anniversary issue of Fairy Tale Review, and is appropriately its most oceanic, its most…
aesthetically diverse, issue to date. Despite this diversity the fairy tale pulse or "feel" is present in each piece in The Aquamarine Issue. What also contains this issue and holds it within the salt palace of tiny sea horses is how the narratives and poems, taken together in here, can be seen to contribute not only to the very important living body of contemporary fairy tales--so nascent and now--but also to the conversation about what constitutes "a fairy tale," that monumental type of art.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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Fairy Tale Review is an annual literary publication dedicated to publishing new fairy-tale fiction, nonfiction, and poetry. It seeks to…
expand the conversation about fairy tales among practitioners, scholars, and general readers. Contents reflect a diverse spectrum of literary artists working with fairy tales in many languages and styles. In the Emerald Issue, new stories, poems, essays, and artwork is inspired by the themes of "emeralds" and "Oz". In Frank L. Baum's introduction to The Wonderful Wizard of Oz, the author indicates that his story "aspires to being a modernized fairy tale" in opposition to the "historical" stories with all their "horrible and blood-curling incident".
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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"At an early age, children are weaned on the marvelous, and later on they fail to retain a sufficient virginity…
of mind to enjoy fairy tales," Andre Breton wrote in 1924. "There are fairy tales to be written for adults," he continued. "Fairy tales almost blue." Violet flowers are often described as "almost-blue," which is how this color was chosen. This issue of Fairy Tale Review focuses on fairy tales for adults.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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Brown is the color of the wolf, of the harvest-ravaged farm, of thatched roofs, of cinnamon cake, of autumn, of…
snuff, of wooden boxes (bridal chests, watch cases, humidors, coffins). If ever there was a color more suited to earthly existence, it's the color of earth itself. And earthly existence is at the very heart of fairy tales, despite all the unearthly circumstances depicted.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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The sheer volume of responses to the first issue of Fairy Tale Review shows that fairy tales continue to be…
one of the most viable art forms. In fairy tales, all things are interdependent, mysteriously and insanely entwined. They contain a deeply ecological world. The Green Issue is devoted to new fairy tales, with a special consideration for nature. The unbridled individualism at work in the literary forms most dominant today devalues the natural world in relation to the human. In fairy tales, the human world and the animal world are collapsed. The collapse remains open to wonder and change. In this way, fairy tales provide the possibility for narratives to shine a different sort of terrible light on the natural world. This world is transparent, imperiled, abstract, and new. In this world, clarity and wonder go hand and hand.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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Ochre is the color of our earliest stories. It is the color we chose when we wanted to make paintings…
on the walls of caves, in places that never did learn the name of sunlight. By the grace of small fires we etched in ochre; we coughed at the smoke in a confined area but also the absurdity of things we would later call warmth and light and home. Ochre was the color that permeated our lives, slipped into our fingernails, found its way onto all our clothes, our bedspreads, and the skins of lovers. There is evidence of ochre in caves dating back twenty centuries BC: horses and bison and traces of human hands. The places we have touched, tried to remember. Our tongues made middens of ochre even when we couldn’t see. If fairy tales are a language, as Kate Bernheimer argues, then...ochre is the color in which that language must be written.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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This issue is themed around yellow: the color of my skin, my namesake, the color used to describe four billion…
plus Asians, and this doesn't even account for the diasporic population. Yellow, the color of diseased skin and diseased people. Yellow, the color of aging. All these denigrations contained in one color, none of which actually resemble the color itself. Because yellow is bright. It is electric. It inspires. And the works in this issue are as effulgent as yellow itself, but lurking--as yellow always lurks--is something sinister and bold, the color forcing itself up and out, revealing, transforming. Yellow yields metamorphosis.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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The Blue Issue is the inaugural issue of Fairy Tale Review. Swiss scholar Max Luthi wrote about fairy tales as…
literary examples of abstract art. The strange quality that Luthi identifies as "firm form" is sparse, flat and depthless as it is wild, weightless and bright. The writing selected for the debut issue of Fairy Tale Review reflects this quality in a multitude of ways. The work in here is not beholden to any particular school of writing. Rather, each contribution uniquely dovetails with the aesthetics and motifs of fairy tales.
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Fables, fées (contes de), folklore (légendes), Oeuvres littéraires (romans)Essais
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When we speak of grey as a location, placing a thing into a grey area, the color represents territory where…
the definite becomes lost. Grey lets us know that the truth is not always clear; even the most well-known paths can turn strange when a low grey cloud of fog rolls in. Grey is an act of subtraction, the loss of sun, joy, and color. Regrets are the natural property of grey hairs, said Dickens. Since grey is a symbol for the loss of youth, it seems a fitting issue for a theme about youth who are lost. Getting lost is one of the most widely used narrative vehicles of all time. Once characters become lost, they can stumble upon anything--it's a light-speed bullet train between credibility and suspension of disbelief. Falling down a rabbit hole or stepping off the trail in a labyrinthine wood can transport a character to another world entirely in a manner of seconds. When a protagonist starts to get lost, something exciting is about to happen.