Warriors In Gowns and Other Plot Twists by Gina Pfleegor

Gina Pfleegor
"Plot Twist" (oil paint on panel)

 Gina Pfleegor is a "pop-surrealist" artist we've recently discovered, thanks to Beautiful Bizarre Magazine's RAYMAR Traditional Art Award contest, 2021, in which the delightful painting above was chosen as a finalist. 

We adore the title: "Plot Twist", which is the perfect introduction to the series this painting belongs to. 

While not focused completely on fairy tales, it's both fitting and not surprising to find fairy tales referenced; specifically, The Frog King, Beauty and the Beast, and Rapunzel but also alluding to Fairy (Tale) Land in general. The series endeavors to reconsider femininity and heroism (or heroine-ism); exploring the struggle between defining strength (for women especially, but the struggle isn't limited to those who identify as "she/her") and just what being female - or how to incorporate a sense of femininity in one's life, means.

“In this series of paintings, I found myself drawn to a subject I know well; that balance of feeling strong yet feminine as a woman in our society today. Attempting to depict a sense of authenticity regarding what this can often feel like, I used symbolism to show that we can be both without sacrificing the other. Sensual can be strong, determined can be vulnerable, and sometimes warriors wear gowns into battle.”

Gina Pfleegor (Artist statement on the series via West End Gallery)

Redefining the narrative is what this series is all about and that becomes very clear when you learn the titles for each of the pieces. We found musing on the paintings in conjunction with their titles so fun we thought we'd share our personal commentary. Please note, the artist hasn't commented much on her intent for each piece so every viewer is free to see what they wish... ;)

"Plot Twist" gives us a sinister but refreshing and cathartic ending to The Frog King (more popularly known as The Frog Prince). The lily pad wallpaper, with its sperm-like design seeking to devour its fellow "lily pads" shows the futility of doing so against this princess. One eyebrow is raised in challenge to the viewer, while the little crown is left on the plate for her to consume, take or leave as she chooses. 

"Plot Twist"

"And She Lived Happily Ever After" focuses on a very satisfied looking Beauty (or Belle, since the yellow dress, and jowls above are both a Disney callback), with the Beast almost out of frame, behind her, no longer an obstacle but a trophy, even as her own story continues (with a lot more to come, judging by how big that book is!). 

"And She Lived Happily Ever After"

"Slay" portrays a Rapunzel with lopped-off hair, (we like to think she did it herself with that sword!), looking post-battle sweaty, sunbeams shining down triumphantly as she sits, sword remaining at the ready, a dead dragon relegated to her background. The dragon might be closer to her than the tower she was once trapped in, but it's still left well behind as she looks to her future from her (literal) rock-solid base. 

"Slay"

The tea-drinker, ear cocked toward the flying bluebird is titled "Do Tell" and, while not obviously referencing a particular fairy tale, clearly bears the marks of one. (Snow White came to mind immediately with the combination of domestic and "ladylike" motifs being disrupted as well as her obvious affinity to nature but she could easily represent quite a range of fairy tale heroines.) Birds in fairy tales are not only linked to the soul but are agents of transformation, and bringers of knowledge. The savvy princess, also in blue like the bird - a color strangely rare in fairy tales - even as she drinks tea, pinky finger held just-so as per the rules of polite society, she has her ear attuned for secrets and knowledge. Whether via gossip or riddling out tidbits of information from strange sources, the blue hints at the supernatural; a connection to nature and knowledge beyond the norm, (and, we like to believe, a sign of potential happiness), while the orange-gold not only suggests class but that underneath lies a resistance to rules, perhaps even a rebel on the rise. Curiosity, the thirst for knowledge, is both women's hallmark of agency and, traditionally, the "vice" warned against for leading her to female downfall. The bird and woman sharing blue speaks of trust, and a bond that works together against opposing forces, while the orange marks them as rebellious collaborators. There's a lot suggested in this piece but clearly, the woman is poised for something new - be it knowledge or action. No passive princess here.

"Do Tell"

We wanted to include another piece that not only has a clear connection to the land of the Fairy Tale but holds an additional clue to its potency that the average viewer might easily overlook. The title for the piece is "Charmed", and it appears the queen here has charmed the serpent, instead of it being the other, traditional, way around. Behind her head, though, the sun holds another clue: the Latin words "amor et melle et felle est fecundissimus" meaning "love is rich, with both honey and venom*". This is not a girl to underestimate or a woman to be ruled over by another. She is just as potent as the creature she holds gently around her neck and in her hands and meets the viewer's gaze shrewdly and confidently. She is the fairy tale heroine with agency, with personality and if her nemesis - or partner - is given a name, you can be sure she will have one too.

"Charmed"

Just like the direct gaze of these female characters challenges the viewer to reconsider their first glance at these pieces, the narratives implied by the symbolism used in each, ask that you redefine and rewrite the assumptions - something very central to women's issues, as well as issues of narrative, today.

You can see the rest of this series by Pfleegor HERE and stay up to date with her projects and appearances through her blog on Facebook HERE. To finish we found an earlier fairy tale-themed piece, from 2018, titled "The Sorrow Of The Snow Queen" that we insta-loved. While it doesn't really fit into the spirit of the current 2021 series it also says a lot more than what you see at first glance. Instead of telling you what we see this time, though, we'll let you think about what it says to you.

"The Sorrow Of The Snow Queen"

*To be accurate the full quote, by Roman playwright Titus Maccius Plautus is:

amor et melle et felle est fecundissimus;

gustui dat dulce, amarum ad satietatem usque oggerit.

Which translates as:

“Love exceedingly abounds both in honey and in gall: it yields sweetness even in a taste, and produces bitterness to sufficiency”.

Timeless Tales Going on Hiatus (possibly looking for new ownership!)

(Written by Tahlia Kirk, founder of Timeless Tales Magazine)

I've been avoiding this announcement for months, but it's finally time. The TLDR is: I'm putting Timeless Tales into long term hibernation. I'm strongly considering shutting it down permanently or transferring ownership to someone new. 

The backstory

2020

This is what's been going on with me behind the scenes: Back in March 2020, I was woefully behind with responding to Hades & Persephone submissions. I'd just landed a promotion at work that exponentially increased my responsibilities. When the big Covid lockdown hit, I was relieved beyond words for an excuse to slough off my social engagements for a month or two and focus on the magazine. 

After Hades & Persephone published in Summer 2020, I gave myself permission to take a nice long break. We'd decided that 2021 would be the year we'd move from Austin, TX to Sacramento, California and I wanted my entire focus to be on moving. 

Confident that I'd return to magazine business after we moved, I announced our Arabian Nights issue and left the submission window open for 9 months, making it very clear I wouldn't respond until April 2021 at the earliest. It was good plan and theoretically should have worked. 

2021

We bought a house and moved to California in February. In April, I received another promotion at work. Although, I needed to start reading Arabian Nights submissions, lockdown was finally ending and I was eager to get back into the world again. I was fully vaxxed and ready to PAR-TAY! Surely those submissions could wait a little longer?

We bought a house!

For a while, I thought I could compensate for the lost time by spending my extra income on expanding our staff. But there was only so much I could easily outsource and it takes time to find and train new people. 

Over the past 10 years, I've managed to keep TT running because my day jobs have historically been dull. Those jobs gave me large chunks of downtime that I filled with magazine work. However, the entry level tech writing job I accepted in 2019 has somehow blossomed into an actual career. I have a team full of nerdy coworkers. I've been managing a small group of technical writers. I'll soon be getting promoted AGAIN to become our writing team's first full-time trainer. Huzzah! 

My celebratory flowers in our freshly painted dining room

This is all wonderful news for me, but not great for the magazine. I needed to stop kidding myself and take a hard honest look at when I'd have time for the magazine again. I've already waited too long for that future day when I'll actually have free time again. The truth is that the magazine simply isn't compatible with my lifestyle anymore.

So while I'm sad to say goodbye to TT, at least it's not out of any personal tragedy. And who knows, I may find a way to either bring it back someday or stay involved after it finds a new owner. 

About Arabian Nights

If you submitted a piece to TT for our Arabian Nights issue, you should have received an email from me about a month ago, politely returning it to you unread. I did my best to email everyone who submitted, but if I somehow missed you, I apologize that you're just hearing this news now.

The future

Originally, I didn't want to announce my hiatus without a game plan for the future in place. But it's become clear that I'm not ready to make a final decision on anything yet. I'm currently in talks with a potential new owner that has a lot of potential, but I want to take time to explore my options

Right now, I'm open to fully transferring ownership to the right person/team, but I'm also not opposed to staying involved in a much more scaled-back capacity. 

If you have ideas or an interest in running Timeless Tales, send me an email at timelesstalesmagazine@gmail.com. Do NOT leave a comment on this post. I don't get email notifications for comments, so I may never read it. 

Here are some of my basic qualifications for What I'm Looking For In a New Owner:

1. Computer skills: 
1. Google Suite: You need to be comfortable using Gmail, Google Docs, Calendar, Google Drive, etc.
2. Website updates. TT's website is run on Wix, so no coding knowledge necessary, but you must understand basic SEO concepts and generally be good at tinkering with tech.
3. Social Media: Even if you hire someone else to handle the daily churn (which I highly recommend!), you should have an understanding of how to write content that boosts engagement. 
2. Disposable income: TT's Patreon page doesn't bring in much money. Maybe you can change that someday, but you must be prepared to cover upkeep costs yourself. I want someone dedicated to continuing the site's quality and committed to paying our authors/graphic designers.
• I'll talk nitty gritty budget details with serious candidates, but I currently pay approximately $2000/year in annual expenses + $1500 per issue. If you want to grow the magazine's reach, you'll want to budget even more for advertising.  
3. Free time: It takes countless hours to publish each issue and maintain a thriving community between issues. I'd hate to hand the reins over to someone who's stretched too thin to devote large swaths of attention to this project.

The current state of the magazine:

1. The website with the actual magazine hosted via a 3rd party service called Issuu. 
2. 2600 Facebook followers
3. 1050 Twitter followers
4. 840 subscribers to our newsletter (and growing daily)
5. A struggling Patreon account 
6. A GoodReads account (it gets a surprising amount of engagement considering how new the account is and we haven't spent a ton of time growing it). 

Be prepared to wait a very long time for a response. Nothing magazine related will be happening in a timely manner and I apologize in advanced if you're stuck waiting for weeks or months.

On an unrelated, lighter note, here's a video of my 2020 birthday where I got to hit a pinata!

If you want to follow my next adventures online, here's my info:

• Blog: missmystra.wordpress.com
• Instagram: @tahlia_mk 
• Personal Twitter: @MissMystra

Carterhaugh’s "Spellcraft" Is Like Joining A Wizarding School Especially for Fairy Tale Writers (+ Bonus Interview w/Drs. Cleto & Warman)

"Books are a uniquely portable magic."

(Stephen King)

You've heard this.

You nod your head in fervent agreement every time you do.

And you not-so-secretly wish to hold "portable magic" in your hands that you created.

But - and this is a perfectly logical thought: if books are portable magic, do I need to be a witch or wizard to create one? 

Yes. Yes, you do.

And YOU CAN BECOME ONE.

Writing books, especially ones that draw powerfully on folklore and fairy tales, seems like a special, magical talent, beyond the ability of regular mortals but here's a secret: if you're reading this, if you're curious about writing and love folklore, you can learn to be a Word Wizard. Words are spells. And you can learn how to wield them to create magic. You can become a Word Witch. Anyone who truly wants to - and is willing to get themselves a little magical learnin' - can.

Best of all? There is now a course for wannabe Word Witches and Wizards that anyone anywhere in the world can take. 

You can learn how to be a Word Witch or Wizard and use your love of fairy tales and folklore to springboard you into your new magical role!

Your course?

Spellcraft: Write Like A Witch

The place?

The Carterhaugh School of Folklore and the Fantastic

You can think of it as an inclusive, accessible "Wizarding School for Fairy Tale and Folklore Writers"; with award-winning Word Witch Professors who have hundreds of hours of Spellcrafting under their belts as your guides, different tracks for Word Witches and Wizards looking to specialize, magical reading lists, a uniquely beautiful Spellbook you can literally add your own spells to (available in digital format to type or touchscreen-scribe on, with instructions should you wish to transform it into something to hold in your hands to use with your favorite quill and ink), an enchanting group of peers - all with great magic potential - who will cheer you on and point out magic they've found in the world along the way, and much more!

Yes, there are even t-shirts if you want them. (For real!)

Magic is rarely easy. It takes work, effort, and persistent concentration. Sometimes it even makes you sweat. Writing is no different. But then there are also times where it feels like you've stepped through a portal, lost time, and emerge with a world and characters on a page that never existed before. It really is Magic. But how can those two things both be true at the same time?

Spellcraft will show you how; how to survive the first and harness the second. Now there's a way to learn how to become a real Word Witch or Wizard, so that your spellcraft becomes - not hit or miss- but a solid skill, with you becoming more capable of accessing real magic more often. 

So what does Spellcraft: Write Like A Witch have that no other writing book or course has?

• it's designed specifically for folks who love fairy tales and folklore and want to write
• the course comes with TWO built-in fairy godmothers to guide you personally (if you wish)
• you get invited to be part of the inclusive Carterhaugh community, many with similar Word Witching goals to you
• you have front-row access to scholarly insight into how folklore and fairy tales can richly inform your writing (any writing)
• it includes a magical library's worth of writing resources specially curated for folklore and fairy tale folk, like you
• it goes beyond the book - Spellcraft is intrinsically attached to the extended resources and community of The Carterhaugh School of Folklore and the Fantastic, so, if you do the course and complete the workbook, it really is like joining a Wizarding School!

We assume, if you've been following Once Upon A Blog even a short amount of time that you familiar with who and what Carterhaugh School of Folklore and the Fantastic, is, so we'll just add that Dr. Sara Cleto and Dr. Brittany Warman are very active writers themselves, continually publishing creative works, as well as scholarly ones, in various journals, magazines, and books, even while they’re teaching; these women can teach AND can do! (If Carterhaugh School is new to you, or you need an overview-refresh, please click HERE.) 

Perhaps, though, you're wondering if this new writing book-and-course is really for you. Perhaps you're thinking "but what if this is too niche/not niche enough?" or "how could my love of fairy tale and folklore possibly help me with 'real' writing that will get me published?"

Dr. Brittany Warman (standing) & Dr. Sara Cleto
The Carterhaugh School of Folklore and the Fantastic

We thought we'd take some of the questions to our Magical Professors friends of Carterhaugh, Dr. Brittany Warman and Dr. Sara Cleto, and ask them directly.

~*~*~*~*~

Hi Brittany and Sara!

Thanks so much for taking the time to answer some questions about Spellcraft. It's a HUGE resource - over 100 pages, with bonus options on top too - so we want to be sure our OUABlog readers get a good idea of just how unique Spellcraft is, and how it's been created specifically for writers just like them.

First of all, how would you "elevator pitch" Spellcraft to a folklore and fairy tale fan who's looking for a way to access the wizardry of story writing?

Accessing the magic of writing can be like trying to capture a will-o’-wisp (complete with getting lost in various swamps of despair)! If you’ve read a library’s worth of advice and none of it can connect your love of fairy tales and folklore to writing the stories of your heart, we get it. Enter Spellcraft: Write Like A Witch. We created a tailor-made grimoire for writers who prefer a little wonder in their world, and it's filled with keys to help unlock quality "spellcraft" that’s unique to you. Words are spells  - as certified folklore and literature experts we can prove it! - and writers are witches. If you’re wishing you could find that elusive portal to the magic of writing and you’re passionate about creating fairy-tale and folklore-infused work, Spellcraft is for you!

How is Spellcraft different from other "how-to-write" books and courses?

We made Spellcraft: Write Like a Witch because writing is hard enough without pretending it’s just for melancholy bros. Because there are tools, prompts, and inspiration galore for writers who steep themselves in magic, folklore, and fairy tales and we’ve pulled them together just for those writers. If you want to write with confidence and to feel like writing is fun again, this is for you!

Why will writers who love fairy tales and folklore find the writing tips and exercises in Spellcraft more relatable than regular books?

The prompts and tips in Spellcraft were all written with lovers of fairy tales and folklore in mind. It’s literally custom-made for you. There are sections titled “20 Ways to Start a Fairy-Tale Retelling” and “Folklore & Worldbuilding.” You’re just not going to see that kind of focus in other writing books.

I love folklore and fairy tales but what if I don't really want to write a fantasy novel, a fairy tale retelling, or kid lit (which is what people usually think about when they hear you've written something using folklore or fairy tales)? What other genres can Spellcraft be used for?

The great thing about fairy tales and folklore is that they are “all genre friendly”! You can find fairy tales in fantasy, mystery, sci-fi, literature, ad copy, scripts, romance, horror, YA.. all of them! The tools in Spellcraft can be customized for any genre that appeals to you.

That said, while there is a ton of material in Spellcraft about fairy-tale retellings in particular, there are also tips and exercises about other genres. We talk about “The Art of the Ghost Story,” for instance, and how fairy tales can help shape memoir. There’s also a lot of writing advice and tools that aren’t genre-specific - as long as you’re interested in fairy tales and folklore, these are materials that will resonate with you!

Can Spellcraft help me with my non-fiction?

Absolutely! Folklore is a huge part of everyday life, so it can also be a powerful force in non-fiction. And there’s tons of writing advice and inspiration that can be applied to non-fiction, from discussions of folklore itself to tips for writing dialog to guidelines on starting a writing group and giving (and getting!) useful feedback.

I want to write a memoir but my life isn't exactly magical, even though I love reading fairy tales. How can using the Spellcraft workbook and doing the course help me write something like that?

There’s a prompt and corresponding exercise in Spellcraft that will help you do exactly this! It will help you see your life, and all its non-magical events, through the lens of a fairy tale. We’ve used it with dozens of students, and we’ve seen its power first-hand!

Then again, what if I really DO want to write a retelling of a fairy tale or folktale - a GOOD one - how will Spellcraft help me write something fresh and, well, "good"? Can Spellcraft help me avoid the dreaded cliched fairy tale retelling pitfalls?

Yes! We talk a lot in Spellcraft about what makes something a good fairy-tale retelling, and we take a look at what can make a retelling fall flat, too! Between the many (many) fairy-tale prompts, the close-ups on some of our favorite fairy-tale retellings, and a deep dive into a retelling that just doesn’t quite work, you’ll be armed with a ridiculous amount of knowledge and strategies for crafting your own successful retelling.

Can Spellcraft help me get my fairy tale/folklore-based work published?

If you’re interested in publishing your work, we put together a special package called Bewitch: Getting to Publication, which you can grab along with Spellcraft! If you don’t know where to begin or you're feeling discouraged after another rejection or maybe you'd just like to figure out how to make publishing easier and less stressful, Bewitch is definitely for you! Bewitch gives you access to our submission tracker to keep your pieces organized, a publication-ready checklist to make sure you're setting your submissions up to succeed, insider knowledge on some of our favorite fairy-tale-friendly markets, and a template for submitting your work.

I want to write but I seriously-no-joke have zero time. I can't even watch Netflix like regular people! Is there some magical way to write anyway? Does Spellcraft have something that can help me too? What about if what I truly want to write is a novel? Can Spellcraft help me do that or am I forever doomed to write flash fiction and short poems until I a) win the lottery or b) can free up hours of my schedule?

Oh yes. If you’re in this place (we call it the “I’m going to die if I have to write today but I will also die if I don’t write today” place), we’ve whipped up another toolkit for you called Magic Momentum: Master Your Writing in 15 Minutes a Day. It’s basically all the tools, rituals, and mindset practices that we used to write and finish our dissertations for our PhDs (basically - 300+ page books that we revised a million times.) It was BRUTAL, and we wish we’d had Magic Momentum at the time - but it’s our hard-won knowledge of how to write and keep writing when the situation is dire!

Finally, if Spellcraft was a magical helper in a fairy tale, who would it be (and why)?

Pretty sure Spellcraft would have to be Cinderella’s fairy godmother. There’s even a fairy godmother pep talk in Magic Momentum to help you get to the ball/ finish your manuscript!

Thank you for answering our questions about your new (incredibly expanded) Spellcraft course and workbook! 

Spellcraft:

Write Like A Witch

is AVAILABLE NOW

- and you can begin making your own portable magic immediately.

JUST CLICK HERE FOR A WONDERFUL OVERVIEW & TO BUY

Words are spells.

Writers are witches.

Writing

is

magic!

Image credits from top: photographer/artist unknown, The Secrets by Mikeila Borgia, Personal by Valeria Heine Photography, Neverending story by Patryk Morzonek, Fiction by Dasha Pears, Official Carterhaugh Portrait of Dr.s Warman & Cleto, Floating Books/Red Library (cropped) by Zuzana Uhlíková, Every real story is a neverending story by Joan Carol Photography, With books by Elena Tatulyan, Carterhaugh's promotional pic for Spellcraft, Spellcraft Workbook Cover by Carterhaugh. official logo of The Carterhaugh School of Folklore and the Fantastic

"Once Upon A Time in Japan" Project Makes Us Want To Hunt Down All the Japanese Variants of These Tales

(Please note: credit not given on project page to identify the artist who created the banner)

 "What if fairy tales of our childhood would have happened in old Japan?"

That's the question put to a group of illustrators in Spain for a collaborative project in 2017, which makes for an interesting intercultural study of both fairy tales and Japanese folklore as seen and combined by outside peoples (both the stories, all of which shown here are referring to the German origin in the tales, even more than the American Disney lens, as well as Spanish interpretation of Japanese storytelling, culture, and folkloric characters).

Snow White by Aitor Prieto

There's definitely a subtext here showing how universal the tales of fairy tales are; that they are human stories, but we very much wish this project had included Japanese illustrators in the mix and had been expanded to Japanese writers, so they would write those stories rooted in their culture, as suggested by the illustrations.

Red Riding Hood by Nuria Tamarit

We feel there's a lot that could be unpacked here, in both positive and negative terms, but for now, we are thrilled to see a different lens applied to well-known fairy tales, which helps everyone look at them differently, and reminds people that people all over the world are people and that these tales resonate, no matter what form they take. 

Bremen Town Musicians by Xulia Vicente

It's not an approach without some risk though, For example, it is a little jarring to see a Japanese version of Cinderella as your brain figures out the multiple issues it just hit on. For one, most fairy tale fans these days are aware that one of the oldest variants found was from China (not Japan) and the illustration below isn't, perhaps, as clearly Japanese in style and design as it could be to distinguish this a different interpretation. To add further disruption, the character fondly considered to be the "Japanese Cinderella", Chūjō-hime, is depicted quite differently due to the fact that there is no "shoe" and "prince". Or perhaps that's just us being picky. Whatever the case, these are important conversations to have when considering other cultures, but it's also worth acknowledging that this doesn't make the idea of considering other settings (and how to represent that) as being invalid. The commonality is a love of fairy tales in "different clothes" and that can be very unifying. The important key here, though, is that a common love of something, while good, isn't enough. Using that commonality, however, to open the door to respectful and constructive conversations that aid proper representation can build bridges and bonds where nothing else could. (Yay for fairy tales!)

Cinderella by Alfonso Salazar

It's no secret that one of the big reasons we at Once Upon A Blog love fairy tales so much is that they show us how the human experience is the same all over the world while simultaneously showcasing just how widely variant the flavors of those experiences can be; they celebrate our shared experience as well as our cultural differences, and, as complicated as explaining those two things can be, fairy tales do it simply and clearly, and encourage an appreciation of people and peoples from every corner of the planet.

Continue scrolling down for some more lovely, interesting, and thought-provoking interpretations!

Bluebeard by Marina Vidal

The Wolf & the Seven Six Kids by Cristian Robles

Snow Queen by Aliz Fernandez

Sleeping Beauty by Miquel Muerto

Pinocchio by David Navarro

Puss In Boots by Paco Sordo

Snow White (Evil White) by Raquel Rodenas

There are more illustrations we haven't included here, so be sure to go check out all the various artist's contributions on Behance HERE.

The illustrators involved in this project are: 

Aitor Prieto, Alicia Fernández, Héctor Molina Fernández, David Navarro, Raquel Ródenas, Paco Sordo, MªLaura Brenlla, Elena Serrato, Jordi Villaverde, Michael Sanchez, Miquel Muerto, Cristian Robles, Adrián Rodríguez, Xulia Vicente, Núria Tamarit, Marina Vidal

All the individual portfolios can be found via this project page by scrolling to the bottom and seeing the list of "owners" for the project.

Are you pumped to read some Japanese "fairy" tales? We recommend the book "Once Upon A Time in Japan" by Japan Broadcasting Corporation (Nhk) (Author) Roger Pulvers (Translator) Juliet Carpenter (Translator), to get you started, though there are many beautiful individual-tale books and collections out there. [Please note this book has no relation to the project in this post!] Each Japanese tale (told in Japanese but translated to English) is illustrated by a Japanese artist, with an eye to representing their beloved tales and culture beautifully and magically for modern readers. (Amazon has a great preview showcasing the variety of illustrations used for different tales, which you can see HERE.)

Here is the blurb and a list of the tales included:

When wily animals, everyday people and magical beings come together in a collection of Japanese fairy tales, wonderful things are bound to happen.

Each story is brilliantly illustrated by a different talented Japanese artist. The tales recounted here are among Japan's oldest and most beloved stories. Entertaining and filled with subtle folk wisdom, these retold stories have been shared countless times in Japanese homes and schools for generations. Like good stories from every time and place, they never grow old. Kids (and their parents ) will enjoy hearing these stories read aloud on the accompanying CD.

The fairy tales and classic stories in this collection include:

• The Wife Who Never Eats--the story of a man who learns the hard way the evils of stinginess.
• The Mill of the Sea--the story of how a greedy man was responsible for the saltiness of seawater.
• The Monkey and the Crab--the crabs teach a tricky monkey a lesson in fairness and honesty.
• The Magical Hood--an act of kindness reaps great rewards.
• Sleepyhead Taro and the Children--a story about what can be accomplished at the right time, and with the right help and the right spirit.
• The Fox and the Otter--how a fox pays the price of deceit and selfishness.
• The Gratitude of the Crane--a story about the rewards of kindness and the danger of curiosity.
• The Tale of the Bamboo Cutter--a girl who starts life very tiny turns out to be big in many ways.