Pamela Sargent‘s novels The Shore of Women and Climb the Wind have been re-issued as eBooks.
Tales are not lies, nor are they truths, but something in between. They can be as true or as false as the listener chooses to make them, or the teller wants him to believe.
- Juliet Marillier, Son of the Shadows
The Princess and the Flamethrower: Feminism in Fairy Tales
by Faith Mudge
I don’t know if anyone else noticed, but I’m pretty sure 2012 was the Year of the Fairy Tale. There wasn’t an official announcement or anything, but the nod was clearly given in secret circles and the retellings spread outwards like ripples on the waters of speculative fiction. Novels such as Kate Forsyth’s Bitter Greens, Sophie Masson’s Moonlight and Ashes and Marissa Meyer’s Cinder were released, there were big movie adaptations Mirror Mirror and Snow White and the Huntsman, there was even a TV series. Hell, there were two TV series! I’m a fiend for fairy tales; I was in paradise. And I was seriously impressed by the ingenuity of all these storytellers for finding something new to say about stories that have been retold over so many years.
But there was also a bitter aftertaste that’s been bothering me for some time. It was so subtle, and so pervasive, that it is difficult to pin down when exactly I first noticed it – in the reviews? The promotional interviews? The posts I read afterwards? What I noticed was this: that when people spoke about a fairy tale adaptation, the assumption was that it would be better than the original. Specifically, that the women would be better.