I have so many things I want to talk about on Myth & Moor as the new year begins, and so many books to share with you...but today let's start with a subject that is at the very heart of this blog: the enduring value of fairy tales.
The following passage comes from Why You Should Read Children's Books, Even Though You Are So Old and Wise -- a wonderful little volume by Katherine Rundell, who is one of the very best authors writing for children today. She says:
"Fairytales were never just for children. They are determinedly, pugnaciously, for everyone -- old and young, men and women, of every nation. Marina Warner argues that fairytales are the closest thing we have to a cultural Esperanto: whether German, Persian, American, we tell the same fairytales, because the stories have migrated across borders as freely as birds.
"All fairytales, by and large, have the same core ingredients: there will be the archetypal characters -- stepmothers, powerful kings, talking animals. There will be injustice or conflict, often gory and extravagant, told in a matter-of-fact tone that does nothing to shield children or adults from its blunt bloodiness. But there will also usually be something -- a fairy godmother, a spell, a magic tree -- which brings the miracle of hope into the story. 'Fairytales,' Marina Warner writes, 'evoke every kind of violence, injustice and mischance, but in order to declare it need not continue.' Fairytales conjure fear in order to tell us that we not be so afraid. Angela Carter saw the godmother as shorthand for what she calls 'heroic optimism'. Hope, in fairy tales, is sharper than teeth.
"That spirit of heroic optimism -- optimism blood-covered and gasping, but still optimism -- is the life principle writ large. It speaks to all of us: because fairytales were always designed to be a way of talking to everyone at once. They provide us with a model for how certain kinds of stories -- by dealing archetypes and bass-note human desires, and in metaphors with bite -- can yoke together people of every age and background, luring us all, witch-like, into the same imaginative space.
"Fairytales are also a way of tracing our cultural revolution. More than any other kind of story, they live and breathe and change."
The paintings and drawings today are by Helen Stratton (1867- 1961), a prolific artist who published many popular books during England's "Golden Age of Illustration" at the dawn of the 20th century. Stratton was born in India, where her father was a surgeon with the Indian medical service, but she spent most of her childhood in Bath. She studied art in London in the 1890s, where she fell under the spell of Pre-Raphaelitism and Art Nouveau, and then settled in Kensington with her mother and siblings after her father's death.
She received her first illustration commission (Songs for Little People) in 1896 and worked steadily over the next several decades, producing beautiful editions of Hans Christian Andersen and Grimms fairy tales, Charles Lamb's Shakespeare for Young People, The Book of Myths, The Children's King Arthur, two classic children's novels by George MacDonald (The Princess and the Goblin and The Princess and Curdie), and numerous other works, as well as collaborating with William Heath Robinson on a lavish edition of The Arabian Nights.
Stratton returned to Bath in the 1930s, where she resided and worked until her death at age 94. She's a woman I long to know more about -- so if there are any biographical writers out there looking for a subject, please consider this remarkable artist.
Words: The passages quoted above are from Why You Should Read Children's Books, Even Though You Are So Old and Wise by Katherine Rundell (Bloomsbury Publishing, 2019). All rights reserved by the author.