Consider this an official 'heads-up" from us, for your fairy tale studies and folklore libraries:
Coming in November from Wayne State University Press is a fascinating new book on a topic that has had quite a bit of attention in the past coupe of years. It's titled Mother Goose Refigured, written by Christine A. Jones, and, unlike most people's impressions that Mother Goose is a nursery rhyme figure only, the character and archetype often made appearances alongside fairy tales as well, especially in the French fairy tale salon era, of which Charles Perrault was a member. His collection of fairy tales was actually titled Stories or Tales from Times Past; or, Tales of Mother Goose (1697). This book looks at the translations and adaptations of this volume and how that affected the tales themselves.
About the author, who is no newbie to critical writing on fairy tales (we still have our eye on Feathers, Paws, Fins and Claws: Fairy Tale Beasts!):
Christine A. Jones is a specialist of seventeenth- and eighteenth-century France at the University of Utah with interests in the luxury trades and the fairy tale. She has authored as well as numerous articles on trade history. With folklore scholar Jennifer Schacker, she has coedited and , illustrated by Lina Kusaite (Wayne State University Press, 2015).And we must mention: we adore the cover with Red in the wolf-en forest!
Here's the write-up. Included are two images from the book:
Charles Perrault published ("Stories or Tales of the Past") in France in 1697 during what scholars call the first "vogue" of tales produced by learned French writers. The genre that we now know so well was new and an uncommon kind of literature in the epic world of Louis XIV’s court. This inaugural collection of French fairy tales features characters like Sleeping Beauty, Cinderella, and Puss in Boots that over the course of the eighteenth century became icons of social history in France and abroad. Translating the original means grappling not only with the strangeness of seventeenth-century French but also with the ubiquity and familiarity of plots and heroines in their famous English personae.
From its very first translation in 1729, has depended heavily on its English translations for the genesis of character names and enduring recognition. This dependability makes new, innovative translation challenging. For example, can Perrault’s invented name "Cendrillon" be retranslated into anything other than "Cinderella"? And what would happen to our understanding of the tale if it were? Is it possible to sidestep the Anglophone tradition and view the seventeenth-century French anew? Why not leave Cinderella alone, as she is deeply ingrained in cultural lore and beloved the way she is? Such questions inspired the translations of these tales in , which aim to generate new critical interest in heroines and heroes that seem frozen in time. The book offers introductory essays on the history of interpretation and translation, before retranslating each of the with the aim to prove that if Perrault’s is a classical frame of reference, these tales nonetheless exhibit strikingly modern strategies.
Designed for scholars, their classrooms, and other adult readers of fairy tales, promises to inspire new academic interpretations of the Mother Goose tales, particularly among readers who do not have access to the original French and have relied for their critical inquiries on traditional renderings of the tales.