Showing posts with label Russian folk/fairy tales. Show all posts
Showing posts with label Russian folk/fairy tales. Show all posts

Tuesday, October 29, 2019

Puppet Film: 'Vasilisa' - Complete with Spooky Doll & Lots of Bones


Frequent readers know we're happy to chat Baba Yaga stories any day of the year, but we don't think we've yet shared this spooky little amateur puppet film, by Justine Hanchar, which tells the story of Vasilisa the Fair, almost in entirety, and it's perfect for the 'Halloween' season.

It's a little dark on the lighting side of things, and an older film so expect it to be a little murky in places and somewhat grainy but it adds to the spookiness if you're watching it as a story.

Puppet films tend to be endearing but, to give you a heads-up, we got Little Otik vibes from Vasilisa's doll, which, interestingly, made that little magical creature a perfect match to foil the cannibalistic tendencies of Baba Yaga.


While it's still a family-friendly little film, it's definitely spooky and you may wish to preview it specifically for when Vasilisa gives her mother's doll food; the doll feeding is... unforgettable.

We especially like that the end of the tale includes the vengeance of the flaming skull on the step-family and Vasilisa burying the skull before it can cause more damage!

Note: The horsemen, who are three of the many servants of Baba Yaga, appear in this film in the wrong order. After walking all night the first horseman Vailisa sees in the story is the white, not the red. The white horseman signifies the liminal pre-dawn ("My Bright Dawn"), the red represents day or sunrise or midday* ("My Red Sun") and the black, the descent of night ("My Dark Midnight"). The fact that there are two horsemen that ride so closely together is interesting. The grey between night and daybreak (the twilight before daytime) is important enough a time to have its own servant/horseman.

Enjoy! (And Happy Halloweek!)
One word of caution: we did attempt to find out more about the creator and animator but she appears to have only made this one film, and there are suspicious links and weird dead-ends in searching for further information. It's a pity. A lot of thought and effort went into making this film and we'd love to see more work using fairy and folktales by her (and her family, who appeared to have jumped in to help her in many aspects, according to the credits).

* Depending on which source you use.

Thursday, October 24, 2019

TODAY: 'Koshka's Tales' Back In Print (James Mayhew Dubbed 'Fairy Godfather Of Art & Tales' For The Kids Of The World)

Yes, James Mayhew is indeed the Fairy Godfather of art, music and tales for kids everywhere! That's the only succinct description that fits his extensive work and influence, not to mention magic... but first, let's take a look at this classic and beloved book (well worn in our own library) that has been unavailable for twenty years. Until today.

Today his Koshka's Tales is back in beautiful, quality print and available to share with the next generation.

Looks lovely, right? But who, you ask, is this 'Koshka', who gets to tell their version of The Snow Maiden, Vasilisa the Fair, Sadko the Minstrel, and The Firebird?

Here's a hint:
Close-up from the cover of  UK 2000 edition
And here's the answer:
Koshka is simply the Russian word for 'cat'
(from the Author's Note in the 1993 edition)

Yes: These are "Cat's Tales"!
(Not, 'Koshka the Cat, by the way. That would be like saying these are "Cat the Cat's Tales"... heh.)

Here's a little extra info on Koshka, and why Mayhew chose her to tell the tales, from the Author's Note in the 2000 UK edition:
Publisher's description:
Meet Koshka, the extraordinary storytelling cat, as she spins a series of dazzling tales for a royal audience – accounts of the enchanting Snowmaiden, Sadko the minstrel and the Princess of the Sea, Prince Ivan, the Grey Wolf and the Firebird, and Baba-Yaga, the witch who lives in a hut with chicken legs. 
Graffeg is delighted to be republishing Koshka’s Tales, a wonderfully imaginative adaptation of five timeless stories from Russian folklorewritten and illustrated by James Mayhew. Featuring unforgettable tales of handsome princes, wizards and princesses, golden apples and magical realms, the collection was first published in 1993 by Kingfisher Books and has been out of print for over 20 years.
Here's a gorgeous book trailer which treats you to glimpses of the delight waiting inside the covers - but let us warn you: seeing the illustrations online is a very poor substitute for the real thing. As beautiful as the pics in this post and video are, when they're on a page in front of you, they take on an extra dimension. The illustrations seem to refuse to lie flat on the page, but instead, draw you into the story-world and take on a sort of life.
It's magic!
Enjoy:
As a bonus, a special calendar is now also available. (Shipped from the UK.) This time, not only will you be able to enjoy a crisp and beautifully printed copy of Mayhew's illustrations but you'll be able to put them on your wall... Or perhaps carefully detach the pages and frame them, or put them together and make a storytelling frieze to evoke magic in your room. Your choice. ;)
James Mayhew is not only a talented artist and writer but he spreads joy and beauty every day on Twitter via his account @mrjamesmayhew, with a special #BookIllustrationOfTheDay, and seems to be friends with everyone who follows him. He's also one of the kindest and most encouraging people in the Twitterverse and makes the world a better place this way every day.

But, honestly, we don't know how he makes time to for this, because James (we feel like we can call him James here, since he encourages us to on Twitter!) is a very busy man! Ever since 2007 he has been organizing classical music concerts for children, with wonderful orchestras, and not only presenting them, but painting - live - during the concert, combining art, music and storytelling. It is phenomenal to see (and we've only been able to see brief video clips!). More information is available via his website HERE. But in the meantime, we'll share some pics we love of him working in his passion:
The 'About' page on James' website details the HUGE amount of work he is doing but a driving force for him is to function as an ambassador and mentor, of art, music and culture, especially for children. Here's a very small excerpt from his bio page which reflects one part of the officially recognized capacity of his very personal mission:
I’m very pleased to be an adviser to Action for Children's Arts - a charity that campaigns for children's right to access the arts. I’m also a patron of Magic Lantern an art education charity who bring high quality art workshops and presentations into schools all over the country. In 2017 I joined Tanita Tikaram as an ambassador for the humanitarian charity Side by Side with Refugees.
a.k.a. Fairy Godfather of Art & Tales For Kids Everywhere
This is a completely legit title. Fairies are just not great at printing out certificates, but still: Legit. (So mote it be!)
Wish you could see him in action? In order to celebrate the re-release of Koshka's Tales, James is having a super-amazing competition, which is open to all UK & Irish schools. The prize is:
"To enter, schools need to use the book to CREATE! Art, film, story... *anything*."

Gosh that's fabulous! Makes us wish we could have the US kid classes we know, enter too...
Details for the contest are HERE and the contest closes on Tuesday March 31, 2020, with the winner announced on social media (Twitter ad Facebook) Friday, April 24th 2020. Runner up classes will get Koshka themed swag. (There are going to be some very happy kids!)

For the rest of the world, who can join in online, James is also about to give a special #artychat: 'The Art of Painting to Music' (links below are clickable to take you to more information):
This event is going on our Newsroom calendar.

By the way, did we mention that this new hardcover book is now out?
TODAY: October 24th, 2019
You can purchase a copy HERE (UK, and they ship internationally too), today.

If you already have a copy in your personal library (like we have) then consider getting a new copy for a holiday gift. This lovely collection is magic in book form and easily shows why so many folks fall in love with Russian tales.

Extra special note for fairy tale folks, storytellers & folklorists: We are delighted to let you know Mayhew has included notes on his main sources for the stories (which include operatic libretti as well as books) under the 'acknowledgments' at the front of the book, and his Author's Note at the end includes some history, context and much more useful information if you'd like to dig a little deeper. How much more can this Fairy Godfather endear himself to us?!

Tuesday, October 2, 2018

Review: Jack Zipes' New Book: Fearless Ivan & Double-Hump

Reviewed by Patricia Ash

 

It is always an absolute delight to find a fairy tale I’ve never heard of before. While the story of Fearless Ivan is well-known in Russia, it is almost unknown here in the United States. That needs to change, because this story deserves a place among the greats.

Pyotr Pavlovich Yershov was something of a Russian Hans Christian Andersen, writing his own original fairy tales instead of collecting and compiling preexisting folk tales. He wrote The Little Humpbacked Horse in 1834 as a poem and when it was published as Fearless Ivan And His Faithful Horse Double-Hump, it became an instant classic. At the time, the inclusion of a villainous tsar was considered subversive, but despite (or perhaps because) the authorities tried to ban the book, it was wildly successful. 


Portrait of Pyotr Pavlovich Yershov
Portrait of Pyotr Pavlovich Yershov
Readers familiar with Russian culture will quickly pick up on two iconic elements of the nation’s folklore that appear in this book: A hero named Ivan and a firebird. Ivan is the Russian Everyman. Westerners might call him Jack. Firebirds appear repeatedly in Russian folklore as objects of quests or benevolent demigods. They sometimes symbolize Russia itself. 


Our hero’s chief attributes are his foolishness and his love of sleeping (I can relate). Ivan is the youngest of three sons, and his father is a farmer. One day, something starts destroying the crops. The older brothers guard the field on successive nights, but chicken out and lie about it. Ivan doesn’t give into his fear and manages to catch the crop-destroyer. It’s a magical mystery mare who can fly. He grabs her by the tail and goes on an adventure. Before disappearing forever, she rewards him with a pair of gorgeous stallions and a goofy-looking talking horse with two humps and giant ears.
 
The next morning, Ivan’s brothers find the stallions and steal them, but the weird little horse (the titular Double-Hump), tells Ivan what happened. Ivan catches up to his brothers on the road to the city. When he spots a firebird, he picks up one of its feathers, even though Double-Hump warns that it will lead to trouble. Ivan sells the stallions to the tsar for far less than they’re worth, and winds up with a job in the tsar’s stables because the stallions won’t let anyone else touch them.


https://commons.wikimedia.org/w/index.php?curid=2838517
Soviet stamp (1988) based on the 1975 animated film

Being an unreasonable sort of person, once the tsar learns about Ivan’s firebird feather, he gives Ivan a few days to find him a firebird...or else. After saying, “I told you so,” Double-Hump explains exactly how to do it. One firebird later, the tsar now sends Ivan to kidnap the Heavenly Princess (the daughter of the moon) or else be skinned alive. Double-Hump also explains how to do this too, and luckily, the one thing Ivan is good at is following directions (well, except for that one time with the feather).


One kidnapped demigod later, the tsar wants to marry the princess. The princess wants to put him through a test involving a cauldron of boiling water, a cauldron of boiling milk, and a cauldron of freezing water. The tsar is scared to do this himself, and makes Ivan do it first. Fortunately, Double-Hump helps out and Ivan springs out of the boiling cauldron looking gorgeous and with perfect hair. Seeing this, the tsar leaps into the cauldrons and promptly gets boiled to death. Ivan marries the princess and they inherit the tsar’s kingdom for some reason. I’m pretty sure Double-Hump makes all the decisions for that kingdom now.


This book is a slim little thing and no two illustrations share the same style. Each piece of art is by a different Russian artist, all originally printed on postcards. You might think the lack of continuity between the styles would be jarring, but I found it fascinating. It really reflects the evolution of a fairy tale’s shape that happen over the years. Think about Little Red Riding Hood. Sometimes everybody dies, but other times everybody lives except the wolf. It’s really neat to see so many different interpretations of the characters in this story. No matter what the illustration, though, Double-Hump is the most adorable creature you’ve ever seen.

This is definitely a book that bridges the gap between children and adults. With all the pictures and a relatively short length, it could easily be read aloud to the youngest set. Adult fans of folklore will appreciate the touch of the venerable fairy tale scholar Jack Zipes.

I personally adored the character of Double-Hump. Ivan is a sweet fool, but he would be dead by the end of part one without Double-Hump. Every idiot hero in a fairy tale needs a wise advisor to guide them. It’s even better when the advice-giver is an adorable talking animal. I would give this horse so many sugar lumps (or whatever his favorite treat is) and then ask him for relationship advice.
 



For more information, visit the book's page on the University of Minnesota Press' website HERE






NOTE: A complimentary copy of this book was provided to the reviewer in exchange for a fair and honest review.

Thursday, March 8, 2018

Baba Yaga Tales Old & New, Uniquely & Chillingly Told - An Interview with 'Horrible Little Fables' Podcaster Keef

Vasilissa the Fair by Ivan Bilibin
"She went into the other room to sharpen her iron teeth..."

Did we get your attention? Well, be prepared for a whole lot more where that came from.

The best storytellers know how to build atmosphere and Keef, of Horrible Little Fables has been experimenting with soundscapes, voices and blending different texts, to create a unique podcast storytelling experience we haven't heard before. It reminds us of some theater we've seen, except that this is all 'theater of the mind'.

Here's Keef's 'pitch-tweet' for it:
It's a 42-minute block of bizarro storytelling, analog synth made specifically for the podcast, and strange sound collage. It is weird, and dark, and creepy, and I very much hope that some of you out there dig it.
We will admit, not normally having time to listen to an average podcast, we balked a little at the amount of time we were going to have to listen for, but it was Baba Yaga and Vasilisa, a favorite tale group of ours, so we started anyway, then ended up making time to make sure we heard the rest.

Here's an excerpt from some of the text used, of a traditional tale section (which can be read on the background of the podcast page):
(Click on the text to read it full size)
The presentation includes a number of Baba Yaga stories, both traditional and not, all with wonderfully descriptive wording. It also includes Keef's original story The Forest Gym, which complimented the traditional tales so perfectly; we loved it! (And it has the most darling little girl voice as one of the characters to bring it immediately to life...)
"Where the wind blows; being ten fairy-tales from ten nations."
1910, by Katharine Pyle, illustrated & embellished by Bertha Corson Dav. 
You can hear the whole podcast on the web for free HERE.

Keef kindly agreed to an interview to give us some insight into his fascination with twisted tales, why he was drawn to Baba Yaga and his process for creating this unique form of Story. Why don't you pull up a chair and join us for tea?
           
Hi Keef

Thank you so much for agreeing to chat with Once Upon A Blog today about your new podcast 'Baba Yaga'. We're delighted to have you here. You probably know by now that we adore this fairy tale and folklore character here, in all her iterations, so we're keen to learn what it was about her that grabbed your attention, and how that developed into the unique storytelling podcast you've created.

OUAB: *Sets out an odd assortment of irregularly shaped tea cakes and Oreshki on a vintage hand painted plate. Pours tea from a strange, beaked teapot into two mismatching cups with chicken legs. Once full, they strut over to some paper doilies made of foreign and yellowed newspaper, squat, then plop awkwardly down on their bases, splaying scaled legs and feet out in front. A small splash of tea trickles over the edge of one of them.* Heh. I'll take that one. *hurriedly catches the drip with a napkin, then indicates the food plate* Please help yourself. We know you're a writer of, as you fondly call them, 'Horrible Little Fables', all of which have a fantastic or wondrous element to them ('wondrous' in this case often meaning 'not normal'). What is it that draws you to creating and telling these sorts of stories?

Keef: There isn't really a lot of choice in the matter. I grew up reading and loving fairy tales, weird fiction, horror, and magical realism, and those particular flavors offer possibilities that others can't provide. I also have a hard lean toward postmodernism, leaving some questions unanswered or subverted.  With the horrible little fables in particular, my goal is to be unsettling, sad, sometimes funny, strange, and inclusive. Some of them work better than others. I've also been fortunate enough to work with some truly wonderful artists on pieces to accompany the text. 

Baba Yaga by Tin Can Forest
OUAB: Oh yes! We must admit we were immediately drawn to the Jes Seamans piece you used for your Horrible Little Fable, 'Laquinda and the Vértéktie'. In fact we could see that vértéktie hanging out in the same neighborhood as a certain chicken-legged hut we're fond of... But what was it about Baba Yaga that caught your imagination?

Keef: Oh, Jes is absolutely wonderful. I'm glad you agree about that! And I've loved the Baba Yaga forever. I went to the library every week with my mom as a child-- thanks, Mom-- and I remember finding Blair Lent's Baba Yaga, a beautiful children's book with these chunky woodcut-style illustrations. It was spooky in the most delicious way, and I had to know more about her. The Baba Yaga is a truly remarkable woman-- she doesn't slot into any real archetype. She's not a wicked witch, she's not a helpful fairy godmother, she's unique and individual. Jack Zipes, in his book The Irresistible Fairy Tale, has a great line about the Baba Yaga and how hard she is to define: 
"A Baba Yaga is inscrutable and so powerful that she does not owe allegiance to the devil, God, or even her storytellers... she is her own woman, a parthogenetic mother, and she decides on a case-by-case basis whether she will help or kill the people who come to her hut." 
She's brilliant, and deviously clever, and sometimes beautiful, and she approaches each person based on what they bring to the table.

OUAB: What do you think it is about her walking hut... -- *The teacups begin drumming their little legs excitedly on the table, dangerously sloshing the undrunk tea* -- Stop that! My apologies. My teacups haven't been allowed to help host an interview before and they're a bit lax in their manners... *glares at the cups, who stop drumming* Ahem. Baba Yaga's chicken-legged hut: it's a very curious construction. Why do you think people love it so much?

Keef: How could you not? It's such a weird and otherworldly vision! Chicken feet scratching in the dirt, the little hut surrounded by a fence made of human bones. It can pick up and move anywhere-- in any wooded area, you could turn around and find it right behind you, waiting expectantly. The possible intrusion of this ancient spooky structure, with clear links to pre-industrialized culture, engenders fascination, respect, and fear immediately. 

Faith Jaques’s illustration of Baba Yaga’s hut, from “The Red Fairy Book”
OUAB: You've kindly listed your resources in creating the podcast (see below for the books, with more resources listed under the podcast), but where did you begin your research? Did you use any resources you would recommend for folks wanting to tell or create Baba Yaga stories?

Keef: A lot of the readings in the podcast come from the old skakza themselves, many of which are freely available online: archive.org and Project Gutenberg both have a number of them. In terms of historical background, I mentioned Jack Zipes' The Irresistible Fairy Tale before, which has a wonderful chapter on the Baba Yaga. Dubravka Ugresic wrote a great book, Baba Yaga Laid an Egg, the last third of which is a fictional response from a Baba Yaga scholar to the first two-thirds. It's packed with history and insight. Oh, and there's another book called Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale, by Andreas Johns, that both of the sources I already mentioned cite. I've got it on order.

OUAB: Us too! There always seems more to learn, more stories to read... and to tell. Speaking of telling, literally - as in using vocal and auditory senses - at what point did you decide "this has to be a podcast"? *Raises teacup, takes a sip, then has difficulty putting it back as the legs begin air-bicycling on the way down. It's given a little tap and it settles on the table, standing in a lop-sided stork pose.*

Keef: This particular Baba Yaga recording started life as a two-hour broadcast in January on KVRX, but the recording method failed. I couldn't let it go, so my friend Dan and I re-created it as a podcast, which allowed us greater freedom in making sure things converged, creating and tailoring the music more specifically to the needs of the pieces, and cutting it down for greater impact. Then we figured, hell-- let's keep making these. I've also got two decades' worth of recordings that I can whittle down and intersperse with new episodes, so that should be fun.

Lacquer miniature by Nina Babarkina
OUAB: So how did you go about putting together the 'script' or text? Did your choices come from the soundscapes you were wanting to build *both teacups begin sloshing their remaining tea...* and, ultimately, hear, *... until they're in sync..* or did the text come together first, in a more typical writing fashion? *throws a 'Stoppit!' look at the teacups. They stop. Mostly.*


Keef: Honestly, a little bit of column A, a little bit of column B. The wonderful thing about these stories is that they've been retold and reinterpreted dozens of times, and translated from the original languages even more. So I asked my readers to read ALL of the stories, and then I just selected chunks from each recording to follow the original plots. 



OUAB: Did you write your original short story "The Forest Gym", which you've included, before beginning production on the podcast, or after?

Keef: After the initial broadcast recording failed, I had extra time, so I wrote "The Forest Gym" specifically for the podcast. The recording of that one is unique and was a family effort. I'm the voice of Daddy. My daughter is the voice of Stefania, and the Baba Yaga is an amalgam of her mother, both of her grandmothers, her step-grandmother, and her great-grandmother. All the extended family members were gracious enough to call me and leave their lines in my voicemail, and from there I could edit it into the podcast. The sound quality is a little rough-- cell phones aren't known for their high fidelity-- but it all came together pretty well. The cat meows and purrs are all courtesy of our cat, Nora. 

OUAB: Oh wow. That is the best family keepsake ever! And a lot to put together. Actually, you have a lot going on in the whole podcast. Storytelling, different voices, overlapping voices, voices with effects, atmospheric sounds and effects, music... It must have presented quite a technical-juggling challenge! 

Keef: Oh, tracks and tracks and tracks and tracks. It eventually reached the point where I had to curb my perfectionism and call it complete, because otherwise I'd still be working on it. 

OUAB: Let's talk a little about the soundscapes. How did they become a key component of the storytelling? How did you decide what to create and include? What was your process?

Keef:  I grew up listening to old-time radio shows, which are really master classes in immersive audio environments. Really, I want these things to be as consuming as possible, really just put the listener in another world. That started on the radio-- my two favorite records of all time for the show are an LP called "The Language and Music of the Wolves," with a B-side consisting solely of wolf noises, and an LP called "Steam Railroading Under Thundering Skies," which is just rain, thunder, and steam trains. It's calming and beautiful and strange, and when you start adding other things in it gets quite bizarre, but it never loses that draw.

Logo for UHID created by Natee Puttapipat
OUAB: You mentioned growing up listening to old-time radio shows. When did you evolve from just listening to wanting to create your own podcast? How did they influence the way you build your immersive storytelling? And, wait a minute: is that your logo? How seriously cool - and topical - is that?

Keef: Yes! That's our new logo, kindly created by the crazy-talented Natee Puttapipat, whose work you may know from, well, everywhere, including The Folio Society edition of Andrew Lang's Red Fairy Book. We love it too.

The Baba Yaga podcast has its roots in a college radio show, called "The Union of the Hideously and Improbably Deformed." (UHID) The name was taken from David Foster Wallace's "Infinite Jest." There’s a weird radio show hostess in the book who reads bizarro texts and interacts with her audience in interesting ways. I started doing it on KRUI in Iowa City from '99-'02, and then at KVRX in Austin from ‘05-'07, and then on KVRX once or twice a year since then. I always wanted it to be weird and strange and unpredictable. It started with the idea of often playing at least three things simultaneously, which often meant instrumental music, sound effects, and spoken word recordings. Doing it on the fly, on the radio, sometimes it would fall flat on its face; sometimes, it would turn into these beautiful bits of convergence where the whole was much more than the sum of its parts. Eventually, the show incorporated live music, and that's persisted through the last ten years or so: my compatriot and co-creator is Dan Butler, a bona fide musical genius, and I'm perpetually thankful for him.

OUAB: You have a HUGE cast of people who helped with voices and sound layers! Where did they all come from? Were they mainly readers of yours, or did you send out a call for voices? Was it a collaborative thing or did you have specific roles for them all in mind? *The teacups have wandered over to the food plate and are attempting to pull off a tea cake with their claws*

Keef: This was such a wonderful and beautiful experience! I am so incredibly indebted and grateful to everyone who read for the show. I posted, on my personal social media, "hey, I’m doing a UHID show about the Baba Yaga, would anyone be willing to lend me their voice?" Immediately, ALL these people volunteered. Some could only read short bits, some wanted to read longer passages. Some people read stories in the original languages, which I buried deep in the mix in places. Some people got their children involved!  It was an honor and pleasure to work with all of them. I have hours and hours of unused stuff that I just couldn't squeeze in. Everyone who read did an amazing job, and some of them have complementary tones and voices that layered absolutely wonderfully. 

Baba Yaga and Vasilisa, also by Natee Puttapipat
OUAB: Because we love hearing about different creative processes: is there anything you wish you'd been able to include, some bit of research - or story text - you found fascinating that didn't quite fit in the end?

Keef: Oh, sure. Two things in particular: 

Jeremy, one of my readers, hollers "TWO BOTTLES OF VODKA, AND A NEW BRIDE!" in the "Uncle Ivan" story (which is based on a beautiful comic book by Tin Can Forest). When he gave me that particular line, he submitted about twenty different readings of it, which totaled to about a minute and a half. Just over and over, "Two bottles of vodka, and a new bride!" It was hilarious. During the radio broadcast, Dan and I just went on an extended riff, like a dance remix, with thumping EDM beats and rhythmic samples of Jeremy's line. It went on for about four minutes. We just couldn't get it to gel for the podcast. 

There's also a story in the podcast about a woman who encounters a fortune-telling Baba Yaga hiding in a tree. It's based on a wonderful short story by Rachel Kadish called "The Governess and the Tree," from an issue of Ploughshares*. It's a wonderful and beautiful and sad story. It's also about three thousand words. I adapted it down to about half that, and then asked my readers to read the adaptation. The reading of that ended up being about fifteen minutes long, and that was broadcast in full on the radio. When it came time to do the podcast, I realized it was just too much-- so I took the existing recording and cut it down again, to about five minutes. I think it still works, but it excises a lot of beautiful material that I was unable to include. I highly recommend the story. Rachel Kadish is a genius. 
*(Ploughshares, Vol. 37, No. 4 (WINTER 2011-12), pp. 83-90)


OUAB: We are definitely looking up Rachel Kadish when we're done here! How long did it take you to create the podcast, from inception to upload? *teacups are now playing football with a tea cake, which is quickly becoming more crumb than cake* And, more importantly, is there any chance of you doing another fairy tale-ish podcast anytime soon? We'd be happy to offer a list of potential macabre tale-candidates for you...

Russian lacquerwork, artist unknown
Keef: Oh goodness. Making this took hours and hours and hours and hours. You can't really take shortcuts with audio, which means listening to everything in real time over and over and over again. I spent two eight-hour days with Dan working on the music, and I'm sure he spent twice that working by himself. It took me about two weeks before the broadcast to get just the storytelling bits layered and edited down, and another week working on "The Forest Gym" and the edit of the fortune-telling, tree-bound Baba Yaga. Then, adding some sound effects, mixing, editing, and making everything come together. I'll also happily tell you that of the two of us, Dan's the genius when it comes to sound recording and production. Any shortcomings in the recording quality are mine alone. Dan's extremely busy at the moment getting ready for SXSW, but we fully intend to keep this up. I'm already gathering versions of stories about La Llorona for another long one of these, and I'm planning some shorter ones that are dramatizations of the horrible little fables.

OUAB: La Llorona? OK we're sold! Thank you for your time and, er, patience today... *The remains of the tea cake land inside one of the cups, splashing leftover tea over the table. Both bounce up and down happily as your host hastily attempts to mop up the soggy mess with extra doilies* One last question: do you have any funny - or spooky! - anecdotes you'd like to share from your auditory journey through Baba Yaga tales? We know she has a mind of her own and, well, odd things tend to happen when we pay attention to her stories... *attempts to corral the teacups that are now randomly hopping and swirling around the table top, barely avoiding the edge*

Keef: Heehee. I shared some small portions with the contributors as I worked on it. One of them told me that they were gathered around the computer, listening to one of these previews, and right as one the story ended, their power went out. They were left in the dark, feeling very unsettled. I love that.




OUAB: Where can folks find you on the web these days and do you have anything in the works we should be keeping an eye out for?


Keef: My sort of catch-all page is keef.org, and from there you can access my blog, the Horrible Little Fables, the website for the podcast, and my twitter. Also, I've just added the podcast to iTunes, so if you want to subscribe, you can search for the Union of the Hideously and Improbably Deformed. Updates will not be frequent, however, especially early on.


OUAB: Thank you again for sharing your process with us Keef! We hope to hear more from your neck of the woods in the future. And you're always welcome to drop by for tea, anytime. *there's a distinct SMASH! of breaking porcelain* I'm sure we can rustle up another cup if we need to.

Keef: This has been an absolute delight. Thank you so much for listening!
             



Here are the quick links to Keef's lurkings on the web. Be sure to wave "hi" if you drop by!
Let the Union of the Hideously and Improbably Deformed enfold you within its embrace. Allow the bizarro soundscapes to subsume you. Enter a world of magical realism, fairy tales, horrible little fables, samples, and sound effects, all with a delicious original analog synth music base. It's going to get weird... we're going to make this weird.
To further entice you to make the time to listen to this, we're including Keef's list of book resources used, that he so wonderfully included on the page:
BOOKS:
"Where the wind blows; being ten fairy-tales from ten nations."
1910, by Katharine Pyle,
 illustrated & embellished by Bertha Corson Dav. 
Russian Folk-tales. W. R. S. Ralston, Smith, Elder, & Company, 1873 
Folk Tales From the Russian. Verra Xenophontovna Kalamatiano De Blumenthal, Rand McNally & Co., 1903. 
Wonder Tales From Many Lands. Katharine Pyle, George G. Harrap & Co., 1920. 
Baba Yaga: A Popular Russian Tale. Rose Celli & Nathalie Parain, Pere Castor, 1935. 
Vasilisa the Beautiful: Russian Fairy Tales. Irina Zheleznova (translator), Raduga Publishers, 1964. 
Baba Yaga. Ernest Small & Blair Lent, Houghton Mifflin, 1966. 
Vasilisa the Beautiful. Thomas P. Whitney & Nonny Hogrogian, MacMillan, 1970. 
The Kingdom Under the Sea and Other Stories. Joan Aiken & Jan Pienkowski, Jonathan Cape, 1971. 
Lovely Vassilisa. Barbara Cohen & Anatoly Ivanov, Atheneum, 1980. 
Bony-Legs. Joanna Cole & Dirk Zimmer, Scholastic, 1983. 
Russian Fairy Tales. Gillian Avery, Alfred A. Knopf, 1995. 
Hellboy: The Chained Coffin and Others. Mike Mignola, Dark Horse Comics, 1998. 
Baba Yaga and the Wolf. Marek Colek & Pat Shewchuk, Koyama Press, 2010.The Governess and the Tree. Rachel Kadish, in Ploughshares, vol. 37, No. 4, Winter 2011-2012. 
Angela Carter's Book Of Fairy Tales. Angela Carter, Little, Brown, 2015. 
Vasilisa the Beautiful and Baba Yaga. Alexander Afanasyev, Post Wheeler, & Ivan Bilibin, The Planet, 2017.The Forest Gym. Keef, 2018.  
Note: We would also like to add our strong recommendation for the following book as well. In fact, if you invest in just one resource, this would be the one. It includes many wonderful illustrations - old, unusual and new - among the collected tales.
Baba Yaga: The Wild Witch of the East in Russian Fairy Tales - Introduction and translations by Sibelan Forrester, with contributions by Helena Goscilo and Martin Skoro. Foreword by Jack Zipes. Published 2013. (Available through University Press of Mississipi)
(Description) "A beautifully illustrated collection of fairy tales about the most iconic and active of Russian magical characters"
Baba Yaga is an ambiguous and fascinating figure. She appears in traditional Russian folktales as a monstrous and hungry cannibal or as a canny inquisitor of the adolescent hero or heroine of the tale. In new translations by Sibelan Forrester, Baba Yaga: The Wild Witch of the East in Russian Fairy Tales is a selection of tales that draws from the famous collection of Aleksandr Afanas'ev, but also includes some tales from the lesser-known nineteenth-century collection of Ivan Khudiakov. This new collection includes beloved classics such as "Vasilisa the Beautiful" and "The Frog Princess," as well as a version of the tale that is the basis for the ballet The Firebird.
The foreword and introduction place these tales in their traditional context with reference to Baba Yaga's continuing presence in today's culture--the witch appears iconically on tennis shoes, tee shirts, even tattoos. The stories are enriched with many wonderful illustrations of Baba Yaga, some old (traditional "lubok" woodcuts), some classical (the marvelous images from Victor Vasnetsov and Ivan Bilibin), and some quite recent or solicited specifically for this collection.
If you love Baba Yaga and Russian folklore and fairy tales, expect to put this on your 'favorites' bookshelf. You can check out a preview, including the contents, HERE (though images, apart from the cover are not shown).
Vasilisa the Fair by B.Zvorykin