Review: Christian Bärmann’s “The Giant Ohl and Tiny Tim”

(Review written by Lily Stejskal)

Giants typically get a bad rap in fairy tales, so if that’s where you met all your giants, you might automatically assume they were all evil and hateful towards humans. Our folklore “giants”: Charles Perrault, Joseph Jacobs, and the Brothers Grimm, all seem to agree that giants are liminal—neither fully human nor fully beast. They universally portray the non-human parts of giants as evil or wrong, just because they’re different.

Translated and edited by Jack Zipes

I must admit I have never met a giant, but if they exist, I’m sure I’d be just as likely to meet a gentle giant, like Christian Bärmann’s Giant Ohl, as the vicious giants littering more famous fairy tales.

After reading The Giant Ohl and Tiny Tim, I’m honestly surprised that Ohl even had the courage to try living among humans. Humans like Jacobs’ “Molly Whuppie” and Perrault’s “Little Thumb” steal from the giants they encounter. Then, when the giants try to retrieve their stuff, they’re killed (just read “Jack and the Beanstalk”). Sometimes the humans even kill giants just for the heck of it, like in “Jack the Giant Killer”.

Even in one of the kinder tales about giants—Grimm’s “The Young Giant”—there’s the underlying message that humans and giants can’t mix. In this tale, a baby no bigger than a human thumb (much like Little Thumb), is nurtured by a giant. Male giants are apparently able to “suckle at their chest”, but this results in the boy growing so big that he eventually becomes a giant himself.

However, this giant clearly believes humans have no place among giants, because he gives the supersized boy back to his human parents. But the parents don’t want him back. This leads the boy to hurting and deceiving others. If either side had accepted him, perhaps he would have turned out alright. But in the Grimm’s world, it’s simply not possible for giants and humans to live together in harmony.

Gulliver Awed by Three Giant Beggars in the Land of Brobdingnag
by Paul Gavarni, 1862. Courtesy National Gallery of Art, Washington

With all that in mind, when our gentle Giant Ohl is told by a fortune teller that he’ll find happiness with humans, why does he believe them? The book doesn’t say. I can only give kudos to Ohl for being brave enough to seek out companionship among the creatures who have caused his kind such pain.

Ohl is lucky because the humans in this book don’t automatically label him as evil.  They’re afraid of him, and probably willing to kill him to protect themselves, but are also curious about him, which is why, intentionally or otherwise, they end up giving him a chance.
That’s progress as far as I’m concerned.

Ohl may not suckle any human children, but he certainly loves them and knows how to be kind to them. He carries them on his back as they take summer trips together. None of this would surprise a modern audience, but it may have surprised people at the time. Bärmann wrote in the years surrounding World War I, right after the Victorian era, when parenting was often done at a distance and playtime wasn’t a high priority in many households. In that way, perhaps The Giant Ohl was ahead of its time.

Any fairy tale scholars out there have ideas about why Bärmann had such love for giants? Information about him online has been tough to find. His Goodreads page says that he was a German painter who published most of his work in the early 1900s. At first, I thought it might stem from a general cultural shift between the time of Perrault (the 1600s) and Grimm’s (early 1800s), but that doesn’t fully explain it. Because Joseph Jacobs, of the infamous Jack stories, was a contemporary of Bärmann, and clearly had zero fondness for giants. (Fun fact: Jacobs was from Australia!)

I can see why Jack Zipes chose this story to revive as a part of his new “Forgotten Fairy Tales” series. If you’re a fan of Roald Dahl’s The BFG or Harry Potter’s friend Hagrid, you should check out The Giant Ohl. You can purchase it directly through the Wayne State University Press' website and I think you’ll find it delightful.

L'ogre et le petit poucet
by Honore Daumier, 19th century. Courtesy National Gallery of Art, Washington

About the reviewer:

Lily Stejskal has enjoyed reading, telling, writing, studying and re-imagining fairy tales, as well as other stories, all her life.  She started seriously interpreting and analyzing fairy tales at age fourteen. This served her well in college, where she studied English and Psychology.  Since then, Lily has been working on new fairy tale retellings and other types of fiction, for both children and adults.

Maleficent's Magical World - New Creature Concept art (aka Maleficent [& Fairy Tales] for Boys - 1 of 2)

I'm dedicating this particular post to my son, because, apart from the dragon, ("She's a DRAGON! Like Smaug!"*) he is completely enamored of the little creatures he catches glimpses of in the trailers and TV spots. Actually, it's going to be post 1 of 2, focusing on Maleficent for boys - this is the 'art' one and the other will be... well, you'll just have to tune in and see. ;)

(All this really means for you readers, is that you'll get another post of all the other Maleficent stuff that's been released this week very soon too.)

At the head of the post if one of the new character posters, featuring most of his favorite things about the movie (although I do believe he secretly finds Maleficent pretty awesome, what with her powerful wings and then showing serious magical clout).

The rest of the images are a whole lot of newly released concept art, all of which he's asked if they can come and live with us. I kind of wish they could too. About the only things missing merchandise-wise to date are creature sculpts/dolls/toys of these little critters, but more on that in part two...

The other thing my son is fascinated by? The best-buddy raven Diaval, and that he gets transformed into many different creatures (see the wolf above, although I don't know if there's a Diaval-wolf in the final movie), all keeping some of his bird aspects. I think he particularly likes that Diaval is annoyed at getting turned into a human, because he completely relates to that.

Why am I sharing this personal stuff? Because my son, despite having as balanced an upbringing regarding girls and boys things and fairy tales as I can manage (and it's been a priority of mine), he still has a very strong sense of "that's for girls" vs "that's for boys". What this movie is showing him, unlike much fairy tale marketing these days, is that there are aspects of fantasy and fairy tale stories (that aren't mainly focused on wars and knights) that are very appealing to boys. The creatures, the transformations, talking/communicating animals, the danger and the strength - he loves it all. He loves beautiful things too (most little boys I've met love beauty, especially natural/nature beauty), so has no problem with the pretty stuff, as long as there's balance. For example, in Adventure Time, he doesn't mind spending time with Princess Bubblegum story lines because, in his eyes, the candy kingdom is more a boys' idea of candy than the typical girl's representation of all-sugar-and-sweetness and Beemo, who is a very cute girl character, is awesome to him because she's tech savvy, creative, and rocks at video games.

He is not the only one enamored of these forest beings. I recently found a post by ex-Geeky Editor at Buzzfeed, Donna Dickens (@MildlyAmused on Twitter & currently blogging at HitFix HERE) I'm going to quote a ton of because the sentiments are so very similar in our house here (emphasis in bold, and underlined and yelled, politely, in Disney's direction, is mine):

Ignore the right side of the banner. Pretend it isn't there. Yes yes, dark and gloomy. Spiky thorns. Spooky rocks. We've seen it all before. Instead, look at these super cute sentient woodland species! OH MY GOD THEY ARE ADORABLE with their little spines and big noses and rock chins and floppy ears. Who are these tiny, cuddly people? A type of fairy perhaps? Or just more mythological creatures? Doesn't matter, I'm sure they play a part in the big battle sequence implied in the trailers. 

Don't they look as if they'd be right at home in a remake of 'Labyrinth' or 'The Dark Crystal?' NOT that those need to be remade, Hollywood. Back off. Seriously. Even the little malformed ones are so cute and fluffy, which is no easy trick when you don't even have fur!. Look at those sweet doe eyes and weird but precious boomerang noses! And are those noble treants wearing loincloths? How thoughtful to remember the PG-13 rating. 

And then there's these little fellas. The one in the middle is probably grumpy because he got stuck with the two nudists. But maybe the lack of clothes means they're pets and not people? I want an elephant nosed, web-handed amorphous blob pet!. If Disney doesn't turn these two into stuffed animals, their marketing department is missing a huge squishable opportunity.

Read the whole (fantastic) post HERE.

Ah marketing. Disney would totally be taking ALL-MA-MONEH if these creatures were considered toyable. The begging and the big, giant anime eyes a kid of seven can aim in your direction, along with the double whammy of "..it's about fairy tales Mama!" is a recipe for "buy all the toys even though it means we're eating noodles for the next 3 months...". It's bad enough he's already begging me for this pricey little sweatshirt:

While I don't know much about how these creatures shown here are represented in the film, apart from the battle scenes, I can tell you that my son realizing that the idea of "fairy" in fairy tales everywhere (ie not just the stories I choose to read to him but in general knowledge), doesn't just apply to pixies with wings but also to any non-human magical creatures (right through to very powerful representations like the ent-like warrior riding the forest hog), is one of those breakthrough things. Why? It has made him more open to reading ALL the tales. It's one thing for your fairy tale obsessed mother to constantly tell you fairy tales are as much for boys as they are for girls, but when he sees evidence of that in the media, it makes an impact and (get this) sends him back to me to read him more of what I've been reading to him all along.**

The media and advertising are so very powerful and loom large in influencing our kid's ideas of how they see the world. While my son's experience may be more unique because he's already had fairy tales in his life (thanks to me), it still takes the "outside world" to show him a glimpse of the same before he'll truly take it on board. It's taken something like the Maleficent trailers for him to realize that "Adventure Time is kind of like a bunch of fairy tale stuff mixed up with weird and crazy fun stuff.." and that "Star Wars would be kind of like a fairy tale if it had trolls and castles instead of aliens and space ships and light sabers and stuff..."Now he'll even catch sight of some of the images I scroll through on Pinterest, eg a guy with antlers, and spontaneously say, "Maybe that's one of those don't-mess-with-me fairies, like Maleficent is friends with".

I am so happy he is at a "wonder-ous" age for tales and can experience all this social buzz on a fairy tale in his formative years, especially in a way that opens the road to looking back on what he's already been exposed to with delight and the way forward to even more.

Addendum: For an interesting footnote to this riff on the importance of balance, I'll share something else on the "for boys" end of the scale that made me realize this even more. My son and I watched Jack the Giant Slayer together on the weekend (with my hands at the ready to over his eyes for any potential gore) and his comment about the giants was: "Why are they so stupid? You wouldn't think giants that big and that old would be so dumb." and "Where are the nice things the giants have? If they're hundreds of years old you think they would have had lots of time to build awesome stuff and make cool and weird looking houses and forests and stuff but everything is broken and nothing is alive..." Also interesting to note, he thought the Ewan McGregor character (Captain of the Guard?) was really heroic, whereas Jack didn't seem very smart. And we agreed that Jack would make a terrible king. "That's not the Jack you named me after, is it Mama? Because I know I'm smarter than that!" You are SO right kiddo.

*Gosh I hope he's right and she really IS a dragon and it's not just Diaval.
** These reasons, more than any others, have me crossing my fingers and toes that Maleficent will be good.

Article: "Why Haven't We Outgrown Fairy Tales?" (with Maria Tatar)

After having had so many fairy tales invade our theaters and TVs in such a short period of time (the last couple of years),

WHY are they continuing to invade our screens?

From The Washington Post, comes an article on a topic more than a few people have been speculating about recently with fairy tale films, series and spin-offs still being big business, despite having had a slew of them the last couple of years.

Maria Tatar

Seeing Maria Tatar* was weighing in, I thought people would be interested to see what she has to say. It's quite a brief article and seems a little haphazard and sparse but, as always, Ms. Tatar says things well, even in a short space.

The article discusses why fairy tales continue to be popular, what fairy tale characters does Ms. Tatar think are most relevant to us as a society right now and what's the reason for the trend of retelling tales from a darker point of view, sometimes, like Disney's movie-in-production Maleficent will, using the villains POV.

Interestingly, the answer to the question posed at the top of this post isn't really answered. it's discussed why fairy tales continue to be popular but Ms. Tatar doesn't put forth any theories on why there's a fairy tale zeitgeist right now.

(Note: retelling tales in a darker, more gritty form isn't limited to fairy tales - it's everywhere: look at the new, very successful Batman franchise, Man of Steel and any other "reboot" of long-loved heroes. They're all showing their dark side, their struggles and people are can't get enough right now.)

Fan made poster - Disney has now confirmed the release date for Maleficent will be JULY 2, 2014

While the questions are fascinating (and I'd love to see more people giving their two cents on them), there was one question in particular I wanted to highlight, especially as there's a strong resistance to the subject being called a fairy tale at all.

Toney: “Once Upon a Time” has spin-off coming this fall, “Once Upon a Time in Wonderland,” why “Alice and Wonderland”? 

It’s our story about disorientation, being in a world that feels like nonsense. How do you manage, cope and survive? I think of my fourth-grade teacher sternly telling me that it’s not a story for children. Alice faces a deep existential crisis. She’s assaulted verbally. She’s constantly losing control and having to regain control. 

Tatar: That we’re taking up that story seems really important. Everyone thinks they’re in a world of crisis, especially with new technology. There’s a divide between digital natives and the rest of us. We use tales like “Alice and Wonderland” to teach us how to move forward. They take us to other worlds but also propel us forward to think about who we are and how we think about things in our own time and place and crisis situations.

(Emphasis is mine.)

Fan made OUAT-Wonderland poster

I agree that there's something about Alice that's changed in the last, perhaps, twenty years or so. There's definitely something happening with Alice and Wonderland - not as was written by Lewis Carroll but in the way certain characters and motifs have taken on a life of their own in society and pop-culture. And not just in England, where you would expect, or the US where you would think perhaps Disney had a big hand in making it popular (which he did but not in the way it has become so), but all over the world. Asian countries in particular adore Alice and her Wonderland.

I wrote something briefly about Alice during the Goodreads chat with fairy tale lecturer and author Kate Wolford and am adding it because it's essentially talking about the same phenomena:

On Alice: the book(s) totally creeps me out BUT (and I mean to write an essay on this sometime soon) I think Alice is a prime example of society turning an "idea" (because not that many people have actually read the books) into a cultural/societal fairy tale (I added societal because although the English sensibilities remain in many ways, Americans love the (Wonderland) world, so do Asians etc etc). The images and motifs have been given a life of their own beyond the book and because of such, have become a fairy tale in the true definition which is continually mutable according to the world and people telling it retaining it's motifs and speaking beyond culture and time...

It was written rather hurriedly, stream-of-consciousness style and may not make as much sense as I wanted to, but hopefully you get the idea. The main thing is, we, as fairy tale people, can't afford to ignore Alice, or her Wonderland any longer. Saying "that** isn't a true fairy tale" isn't going to fly any more. Which begs the question: what do we do about Alice?


I recommend a read of the Washington Post article. It's a quick read and only begins to touch on the topics (I wish it had been a meatier interview!) but it should get you thinking and hopefully all of us talking to each other. Everyone else is. Just take a look through the comments below the article - these are people who are seriously interested in the question and for the first time in a while, they're interested in what fairy tale people have to say.

I'm also curious to think what tales you believe will be focused on next. Tatar says "giants" and more male figure stories. What do you think?

*If you're just tuning in to the blog and are unfamiliar with Maria Tatar you'll see she's one of the people who we regularly pay attention to, having written many wonderful resources for fairy tale study and being  a Harvard University folklore and mythology professor. 

** By "THAT" I mean - NOT the book by Carroll/Dodgson but the Alice stories, the motifs, the idea of Wonderland and the character of Alice herself.

Snow White & Rose Red by Chris Beatrice (& a note on the importance of illustration)

Snow White & Rose Red by Chris Beatrice

I've posted on this artist before and no doubt will again because not only is he a beautiful artist, I love that he shares his process: both regarding technique and the thoughts behind constructing the image. For this particular one he has a wonderful blog post HERE in which he takes you through step by step in making the painting. He thinks about the characters, what they do in their lives and the important aspects of the story they're in.

For example, in the tutorial he gives us close-ups of both girls and explains a little of his thoughts on each and how he imbued the painting, not only with aspects of their personalities but also of their parts in the story, foreshadowing what's to come.

Here's a few comments on the room and the girls in particular:

Everything in the picture has to contribute to what you're trying to do, or it will undoubtedly work against it. You need to think about it all - color, value, lighting, mood, viewpoint, content, facial expression, body language, costumes, things, stuff - everything! For "stuff", I like to think about what these folks do when I'm not looking at them. How do they scurry up that ladder when they go to bed at night? What is just slightly "off camera" that we may not be seeing? What's in that jug on the shelf? What kinds of visitors come and hang their coats on that coat rack by the door? Who winds that clock? What do the girls do during the day - I know, they pick cherries - there's a basket of them under the ladder...

Here's a detail shot of the mantle. Red is more active and wild - she likes to catch butterflies, so there's a jar of butterflies above her. Snow likes to read, so there's a stack of books above her.

On Snow White:

At one point in the story the girls are rescuing a dwarf whose beard has gotten stick in the split of a log. Snow whips out a little pair of scissors and cuts the beard, freeing him. There they are... 

And a close-up of Rose Red (he takes you through the painting process/build-up via this close-up):

I like that he put Rose closer to Bear's teeth - it quietly shows us she's more daring than Snow, who is gently stroking the soft side of Bear's head. I love the curious goat behind Bear too.

You can find many more of Chris Beatrice's illustrations at his website HERE and see lots of art, art-in-progress and fantastic tutorials, like this one, on his blog HERE.

Do go show your appreciation and support. There's this nutty idea going about that there's a dearth of good illustrators these days (and apparently of strong narrative stories too!) and that just isn't true. Just look at the stunning illustrations for the new editions of the Lang Color Fairy Books being produced by the Folio Society HERE (to see the Green, Brown, Red etc books, scroll down the Folio page for links).

I will say one thing in regard to fairy tale collections though: one of the things I dearly loved (and love!) about the Andrew Lang, Joseph Jacobs and the Grimms Household Tales collections is that these text-heavy works have unforgettable illustrations throughout. I don't think these "anthologies" would have been as popular, or impacted as many generations as they have, without them. Fairy tale "memory" (I speak collectively here) is strongly linked to illustration. In this digital age of internet and access to almost anyone who logs into the world wide web we have an incredible resource that simply wasn't available - at least not to the common man - even just twenty years ago. Now we have collections and translations of all kinds, more than we could ever really read in a lifetime, yet I worry that many of these will fade out of public circulation in future and exist only in elite libraries - libraries which may not be able to access them in the future as they thought. (Note that there is a rising concern of the degradation of digital data for filmmakers and artists of all kinds who rely on digitization of any form. Why? Because the "decay" beings almost instantly and nothing much is being done about it. See link for details.)

Donkeyskin by Chris Beatrice

 It's the paintings of the Pre-Raphelites that brought myth and legend (and fairy tales too, to some extent) back into the public eye (I'm speaking very generally here - historically it's more complicated than that) and it was illustrators like Arthur Rackham who worked extensively (though not exclusively) on large collections of fairy tales that captured the public's imagination and possibility of owning a piece of that "magic" for themselves. Fortunately many of the tales came with that "magic" and they lived on - the tales informed the illustrations and the illustrations kept the tales in peoples memories. A large reason Walt Disney had such success with Snow White and the Seven Dwarfs is that it was designed to be a "storybook come to life". One of the failings of the Company as it tries to work with fairy tales now, is that they don't truly aim to give life to beloved tales and then take them to a new and different place. Instead they're now focused on "branding" above all else.

The White Bear by Chris Beatrice

We have such a wonderful variety of illustrators working now and no matter where they are in the world, we're able to see and benefit from their work. Fairy tale collections used to be one of the first places people, usually as children, were introduced to excellent art. While children's books still have a lot of beautiful art today, there's something truly unique and almost magical about what happens when you tell a child a fairy or folk tale in conjunction with showing them a beautiful illustration. More than ever, we live in a visual society where we are bombarded by images from every angle (even our phones are visual these days). Our writing (and I cringe, even as I acknowledge this) is even becoming ever more "visual" with the constant use of texting and emoticon shorthands. As much as we may resist this idea that the representation of language is changing, we must face that it is and not let our precious tales be lost in the flood. It's important we keep them in sight. Art is (largely) timeless and it's no coincidence that as faster and more digital our age gets, the more people look back to the past for stability and understanding. While people are busy searching ancestry.com and picking up Classics (with a capital 'C') in ebook form, it's the images that are sweeping the web. A huge boon of worldwide web sharing is that vintage photos have made a tremendous comeback and it's these that are prompting people to go back and discover the stories of their ancestors and even of complete strangers. When we finally unearth something like a photo of Dickens shaking hands with Dostoevsky (yes, they did meet! but there are no photos that I'm aware of) suddenly the world clicks a little more into place and you begin to understand people's stories and foci at the time. Tale illustrations do the same thing, only they have the ability of their art form to transcend boundaries of time and culture and directly appeal to the heart.

Jack the Giant Killer by Chris Beatrice

So yay! for illustrators like Chris Beatrice, who not only have the skill and talent for making beautiful art, but also for helping keep the stories alive, even as they breathe life into them through new works. All we need is for these wonderful people to try their hand at more tales than just the "classic canon" and for us to help make sure they're seen.

Illustration for the Italian fairy tale Porziella (by Giambattista Basile) by Chris Beatrice

Once again, you can find Chris Beatrice HERE and HERE.

Fairy Tale News New Year's Bumper: General (& latest) fairy tale news headlines (that I haven't seen posted elsewhere)

• Hunt for 'giant Cinderella' by a shoe store to fill size 15 Wellingtons/rain boots - free to anyone they fit.

Athena by Carlos Dunn

• Neil Gaiman introduces Neverwhere - article in which Neil Gaiman tells how Neverwhere (his novel about London-below, the parallel fairy land universe) came to be and was developed. Comments and 'conversation' on the subject and with Mr. Gaiman are encouraged during January 2010.

• A modern Brother's Grimm hunting down (and recording) Emirati fairy tales. Fascinating article with excerpts from wonderful tales included, as well as their roots in history - awesome! If anyone can figure out how to get a copy of his collection, "Kharareef", I'd be very interested in getting a copy.

• Bluebeard costumes and photoshoot by Sidhe Etain - beautiful costumes and shoot! Photography by Frank Tuttle. One of the best fairy tale photoshoots I've seen in a while - highly recommend clicking the link and seeing all the photos and story in sequence, along with the text by Walter Crane. (Via Told This Time LJ Community)

• Bryan Singer now in negotiations to make Jack the Giant Killer as a 3D movie (thanks to the success of Avatar).

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