Artful Journeys: Oddly Modern Fairy Tale Series Program (6 Weekly Live Online Lectures & Discussions with Prof. Jack Zipes)

The Forgotten by Ray Ceasar

NOTE: This awesome program actually began last week, on November 3, and is continuing for six weeks. Our Editor, Gypsy Thornton, learned of it just as the first session was getting underway and quickly joined in mid-discussion, as she's a HUGE fan of the Oddly Modern Fairy Tales series. Having jumped in at the deep end of the first session she happily recommends this special program! If you're familiar with the fairy tale collection series published by Princeton University Press, that's a plus, but you will get a lot from it if you're not, and each week, PDFs of a selection of tales are sent to participants ahead of time so everyone can get up to speed without having to purchase the book and read it all that week.

The next session is TOMORROW, so sign up today so you don't miss out on hearing about Fairy tales written in the French Decadent tradition in the late 1800s, and being part of a stimulating discussion. (The original cover above remains our favorite - we love this collection of crazy, decadent tales!)

Artful Journeys is actually an Arts Education program set up to take people on a special art-based travel tour, to see amazing art, and to participate in artful experiences -in person- around the world. With the pandemic locking everyone down, and travel being put on hold, Director Joan Hill looked to continue the Arts Education programs in a different way by developing Armchair Journeys, that anyone can join online. She had been wanting to focus on a theme of fairy tales for some time, and with everyone stuck at home, she contacted highly respected fairy tale scholar Jack Zipes and asked if he might be interested. He immediately proposed a program based on the Oddly Modern Fairy Tales series of books for which he is the Series Editor and this unique lecture-with-discussion series was born. Opportunities like this are rarely accessible to people who aren't local to wherever the speaker will be, so this is a special opportunity to hear - and meet - Professor Zipes, along with other fairy tale enthusiasts.

From the promotional material:

Jack (Zipes), will take us on another Armchair Journey, not through castles and turrets, but on a more modern, recognizable path full of mean-spirited bullying; "saucy, angry and capricious" persons from late 19th century France; political tales for social equality; subversive German Dadaism; and Hungarian persona with transcendent powers. The series will end on a return to more familiar children's stories but retold to mesh into our reality. ​

Oddly Modern Fairy Tales is a series dedicated to publishing unusual literary fairy tales produced mainly during the first half of the twentieth century. International in scope, the series includes new translations, surprising and unexpected tales by well-known writers and artists, and uncanny stories by gifted yet neglected authors. Postmodern before their time, the tales in Oddly Modern Fairy Tales transformed the genre and still strike a chord. 

 

 

November 3–Smack-Bam, or The Art of Governing Men: Political Fairy Tales of Édouard Laboulaye (a recording of the session was made and access may be available on request. Please contact Joan Hill with this special request if you are interested.)

 

November 10–Fairy Tales for the Disillusioned: Enchanted Stories in the French Decadent Tradition

 

November 17–Lucky Hans and Other Merz Fairy Tales by Kurt Schwitters

 

November 24–The Castle of Truth and Other Revolutionary Tales by Hermynia zur Mühlen

 

December 1–The Cloak of Dreams: Chinese FairyTales by Béla Balázs

 

December 4, 11 am EST/8 am PST/4 pm UK–Old Tales Told Again by Walter de la Mare

 

*Schedule is subject to change.

Tuesdays, 11 am EST/8 am PST
November 3–December 4, 2020*

 

Registration Status: OPEN

​

Tour Cost: $10 per session, $50 for series

Ages: 15+

Review of Lafcadio Hearn's Japanese Tales (Oddly Modern Fairy Tales series)

(Review written by Leigh Smith)

“I have pledged me to the worship of the Odd . . . the Strange . . . the Monstrous… ”

~Japanese Tales of Lafcadio Hearn

“Strange.”

If I had a digital file of Lafcadio Hearn's Japanese tales, I'd be curious to run a search for how many times this word appears amid his 28 tales. This before-his-time multiculturist’s dark fairy tale work foreshadowed an entire body of unsettling art. 

He anticipated the so-called automatic writing of practitioners such as André Breton, opened receptive minds to Cubism and Surrealism movements of the 1920s and primed the public imagination for the fantastical tales of  H.P. Lovecraft. Lafcadio Hearn successfully navigated multiple cultures, transforming himself from Other to revered father figure/folklorist/historian. In short, he became the hero of his own fairy tale life.


As a fan of the macabre and fantastical, I was drawn to this book as a soul to the quintessentially Japanese cherry blossom (sakura)*. The collection's obsession with strangeness is also why I think it’s accessible to our own generation of culturally fluid, proudly freak flag-flying readers. 

Patrick Lafcadio Hearn, aka Koizumi Yakumo. 1889
Photo by Frederick Gutekunst / Public domain

Japanese readers in 1900 may have been steeped in the Buddhist and Shinto teachings about life’s vagaries, but in 2020, we have our ‘disappearing’ social media to remind us of our impermanence (Snapchat, TikTok, etc.).

Plus, modern readers will appreciate the bite-sized nature of Hearn’s stories. The tales are just that: short “tail ends” of Japanese legends and folklore, which can be quickly digested and enjoyed. Even the opener, which is the longest story in this anthology-of-sorts—“The Dream of a Summer Day” and its Pandora-like box—is only 17 pages. Most of the stories clock in at only a handful of pages. As a whole, they transcend their time, but for a couple zeitgeist themes or tropes that I'll mention later.

Hearn's “Exotic” Tales

These stories, selected by editor Andrei Codrescu, originally introduced the Western mind to Japanese culture, as seen through Shinto and Buddhist lenses. The cast of colorful characters and tropes readers encounter include:

• A man who saddles and rides his corpse-wife by clinging to her hair.
• An enchanting screen maiden (an artist's depiction of a woman on a screen) who becomes real.
• A shark-person (Samébito) who weeps blood that turns to jewels upon the ground.
• A samurai-beloved young woman named Aoyagi who experiences a metamorphic twist of fate.
•  A priest who is transformed into a Golden Carp.
• An unwitting entertainer for the dead, in the oft-cited ghost story, “The Story of Mimi-Nashi-Hōichi”.**

If one thing prevails in this collection, it is this: all is not what it seems, for everything is changing. Constantly. And because everything is in a state of flux, all does not necessarily end well. So, dear reader, do not expect the happily-ever-afters of heavily modernized and Westernized fairy tales. Hearn had his finger on the pulse of the unsettling. Let's briefly explore why that might be.

Lafcadio Hearn: Other from Another Mother

Hearn and Koizumi Setsu.
Unknown photographer in Japan pre-1904 / Public domain

It is not a surprise that Patrick Lafcadio Hearn (1850 – 1904) wrote from a position of Other, considering how he became entangled with his parents' inner demons as a child. He bounced from his mother’s homeland of Greece to his father’s home in Ireland. Both parents eventually abandoned him. 

At age 7, he became a permanent ward of his aunt. By the time he was 19, he was virtually penniless but on his way to America. After spending some time in Cincinnati, Ohio, and a decade in New Orleans, he finally settled in Japan for the last 14 years of his life. He married a Japanese woman and started a family.

“[Hearn] never returned to the womb of his mother's Lefkada [Greece] but found himself at home in a patriarchal world where he was a Father, unlike his own genitor.” 

-Andrei Codrescu, Editor of Japanese Tales of Lafcadio Hearn

It’s impossible not to view these stories through a modern lens. And that lens uncovers glaring threads of patriarchy and age-ism. And while Hearn’s position as an esteemed member of society was hard won, his privilege is reflected in his many elitist characters.  I don't doubt that Hearn (called Mr. Koizumi while he wrote these stories) was a product of his time. But it’s still problematic when the women who appear in these tales exist along a binary. If they’re human, they’re generally preternaturally beautiful, young, graceful, and self-sacrificing—like any “good” Japanese wife of the Hearn’s time. Conversely, they can also be ugly, vain, unpleasant hags. The non-human women are supernaturally monstrous “Yuki-Onna” (White Witch) and often violent.

Yuki-onna by Sawaki Suushi / Public domain

A perfect example is the farmer's wife in “Of a Mirror and a Bell.” She covets the return of her bronze mirror, which had been given for melting down to make a temple bell, but it, alone among the mirrors, would not melt. In short, it was magically imbued with the woman's anger and covetousness. Hearn even reminds readers of the supposed old saying, “a mirror is the soul of a woman.”

One positive tale in which the woman's value is not dependent on her beauty, but perhaps her duty, introduces a milk nurse named O-Sodé who asks a divinity to trade her life for that of the now-sick girl she'd nursed 15 years earlier. In her remembrance, the family of the saved girl plants the best cherry tree they can find (“Ubazakura,” or “Cherry tree of the Milk Nurse” which has flowers of white and pink).

Men, in these tales, especially those of the samurai or priestly class, were generally treated more favorably, with wider character variation among both human men and divinities or magical beings.

Lafcadio Hearn in the 21st Century

Beyond the aforementioned shortcomings, however, I see much to enjoy in this cross-cultural experience of reading Hearn. In some ways, I can vicariously commune with Japanese culture through him. I was also pleasantly surprised to see parallels between the myths and legends of other cultures. Here are a few I picked up:

• “The Story of Aoyagi” (Aoyagi means green willow) could find (new/old) fans of Edith Hamilton, Bulfinch et al, in its parallels with several Greco-Roman stories such as those of the united-in-death lovers Baucis and Philemon, or oak and linden.
• “The Story of Kwashin Koji”: In this tale, a religious painting seems to undulate and show real, flowing blood. This recalls stories such as Wilde's “The Picture of Dorian Gray” or the Greek myth of Pygmalion and Galatea.
• In “Hi-Mawari,” a boy and his older friend (Robert, age 8) search for Welsh fairy rings but instead encounter a harper. The harper's music is said to be witchcraft. Fans of Greco-Roman mythology will quickly be reminded of the magical musician, Orpheus, who used a song to win his wife back from Hades.

All is Unreality—Even Us

Woodblock print of cherry blossom
"Thirty-six Views of Mount Fuji"
by Hiroshige / Public domain

It would be too simple to reduce Lafcadio Hearn to a purveyor of the strange, predicting the 20th century’s modernism and political upheavals. I like to think of Hearn's work as living and breathing, even in its preoccupation with the impermanence of life.

The collection will appeal to all lovers of uncanny short stories, from Poe to Neil Gaiman. Furthermore, the curious black and white illustrations of flying severed heads, faceless women, samurai, etc. will appeal to fans of anime and manga, I think. This volume also could draw in readers who appreciate the reverence for nature beyond simply the national symbol of the sakura (cherry blossom). “The Story of Aoyagi” is tailor-made for those who decry the cutting of forests.

Read the tales within Japanese Tale of Lafcadio Hearn. Even its foreword (by Jack Zipes) and introduction (Codrescu) are accessible to non-academics. Just remember—in the words of 14th century Buddhist priest Kenko: “All is unreality. Nothing is worth discussing, worth desiring.”

Japanese Tale of Lafcadio Hearn can be purchased on Amazon or via the Princeton University Press' website. It's part of Princeton's "Oddly Modern Fairy Tales" series.

Read our review of another book in this series: Workers' Tales: Socialist Fairy Tales, Fables, and Allegories from Great Britain. 




FOOTNOTES
*Modern novelist, Hanya Yanagihara, wrote in a recent essay in The New York Times Style Magazine, that “Japan without the cherry blossom is like a person without a head: The image is wrong, inconceivable.”

**From Hearn's Kwaidan: Stories and Studies of Strange Things (1904)


ABOUT THE REVIEWER:
Leigh Smith writes strange tales herself, mostly under the pseudonym Leigh Ward-Smith. In the real world, she writes marketing copy, curates/manages social media for an architectural firm, and does research and editing for a retired professor. She occasionally blogs at Leigh's Wordsmithery (https://leighswordsmithery.wordpress.com/); likewise the occasional tweet @1WomanWordsmith.