We Are Reading: 'Fairy Tales for the Disillusioned: Enchanted Stories From the French Decadent Tradition' (Oddly Modern Fairy Tales Series)

All images in this post are by Ray Caesar, (website) with the exception of the journal cover

"... enchanting yet troubling..."

It's easy to see why Fairy Tales For the Disillusioned is capturing rave reviews. Our cultural climate is ripe for such a round of stories and, as the series from which it appears states, these are, indeed Oddly Modern Fairy Tales.

Note: Special mention should be made here of eminent fairy tale authority Jack Zipes, who champions, and is Series Editor, for the Oddly Modern Fairy Tales, of which this book is the latest addition. "Oddly Modern Fairy Tales is 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." (From the series introduction.)

To put it in very frank terms, these tales are the cynical and morose fan-fiction of largely angst-y fairy tale lovers. The characters are often familiar. Red Riding Hood, Sleeping Beauty, Cinderella and Blue Beard make multiple appearances, as do familiar sounding fairies (of which there are many, as is more typical of French fairy tales than others) but their stories are not familiar and comforting and happily ever after is not only elusive, it's often become 'extinct'. Clearly written by those drawn to, and who deeply love, many things about fairy tales (and, perhaps obviously, the French incarnation of those), these aren't so much revisionist as just disenchanted (the editors say these tales "might better be called perversions rather than revisions"). Fairies feel redundant, true love means nothing and right and wrong depend where you stand, if they mean anything at all. Giving meaning to a series of events - even those with wonder - is pointless. Despite the presence of 'magic' there is often no wonder, or meaning, at all - which is the point. Disillusioned, as per the title, is, in fact, the perfect word to describe it; the tales as well as the writers.

Charles Baudelaire, one of "creative luminaries" of this collection (and the decadent movement in general) would, today, be categorized as "emo: "What do I care if you are good? Be beautiful and be sad!" but also more than a little "goth": “All that is beautiful and noble is the result of reason and calculation. Crime, the taste for which the human animal draws from the womb of his mother, is natural in its origins. Virtue, on the contrary, is artificial and supernatural, since gods and prophets were necessary in every epoch and every nation to teach virtue . . . the good is always the product of some art.” (Charles Baudelaire, from “Eloge du Maquillage”)

For those interested in exploring further, it's worth looking into the publication of the literary journal The Yellow Book (see image below) - the gaudy color automatically connecting it with illicit French novels of the time. Though the first authors and artists were generally much more conservative and non-radical in nature than readers anticipated, the public association was almost prescient with regard for how the journal developed.

From Wikipedia:

Upon its publication, Oscar Wilde dismissed The Yellow Book as "not yellow at all". In The Romantic '90s, Richard Le Gallienne, a poet identified with the New Literature of the Decadence, described The Yellow Book as the following: "The Yellow Book was certainly novel, even striking, but except for the drawings and decorations by Beardsley, which, seen thus for the first time, not unnaturally affected most people as at once startling, repellent, and fascinating, it is hard to realize why it should have seemed so shocking. But the public is an instinctive creature, not half so stupid as is usually taken for granted. It evidently scented something queer and rather alarming about the strange new quarterly, and thus it almost immediately regarded it as symbolic of new movements which it only partially represented".

It would be worth mentioning, at this juncture, that movements like these have a tendency to be "savagely attacked" by the critics of their time, yet championed by the passionate younger generation of artists, writers. These tales are an apt example of this. (The rear of the volume lists the authors with brief biographical notes and it's clear a common thread connects them all - lifestyles and interests both.)

It's too easy to say this movement of the 'decadent tradition' should be belittled or considered not to have literary value. Clearly it does (have literary value) - at least from this distance in time and space. The tales are a (now recognized) relevant reflection of the time period, and political and social discomfort and unrest that they came out of. They prove a fascinating counterpoint to the tales of Perrault and the eventual forty-one volumes of tales included in the salon 'workshopped' Cabinet des Fées. Changing times proved both exciting and fearful, (then as now) and even as more options, independence and opportunities were made possible, people (and fairies) began to feel displaced. Science, technology and education are seen to be the downfall of fairies - and of Wonder.

(A great overview of more of the types of stories and their connection to the postmodern fairy tale writings of Margaret Atwood, AS Byatt and Angela Carter, can be found in The Guardian's review by Alison Flood HERE.)

During the time period, however, such writing could easily have been described (read "looked down on") as indulgent and low-brow, which is also true. Just like the paintings of Ray Ceasar, an artist who blends Victorian aesthetics with Rococo and a dark, and yes, decadent, underbelly (his more mild paintings shown in this post), the tales aren't generally considered "high art". The average person is drawn to them, only to realize there is also something disturbing upon closer inspection. Ultimately the tales, just like Ceasar's paintings are indulgent, whiny and ultimately frustrating. From what we understand, the writers were the equivalent of somewhat privileged and inexperienced university students, impassioned with ideals, brilliant and keenly observant yet disillusioned and outspoken about their lot in life, often leading to an indulgent and decadent life style of keen unhappiness - a double-edged sword. But even as the reader swings between delight and annoyance, such a collection isn't easy to dismiss.

The general response to the book has been one of delight, and the tantalizing forms these tales take are made clear in the description: The wolf is tricked by Red Riding Hood into strangling her grandmother and is subsequently arrested. Sleeping Beauty and Cinderella do not live happily ever after. And the fairies are saucy, angry, and capricious. ...In these stories, characters puncture the optimism of the naive, talismans don't work, and the most deserving don't always get the best rewards. The fairies are commonly victims of modern cynicism and technological advancement, but just as often are dangerous creatures corrupted by contemporary society. The collection underlines such decadent themes as the decline of civilization, the degeneration of magic and the unreal, gender confusion, and the incursion of the industrial. Clearly something of that ilk draws readers and writers today, but it is worth contemplating why. Why are we drawn to the "deliciously cruel"?

Just like the painfully annoying fifth book of the Harry Potter series, (The Order of the Phoenix) in which the 15 year old "hero" is perpetually petulant to the point of alienating everyone around him (and many readers), it's out of that same restlessness, fear and frustration that one of the best aspects of the series is born: Dumbledore's Army. (In which a group of students educate and arm themselves in secret, in case they need to rise up in their own defense - which they do indeed have to do.)

Does it justify the attitude? Absolutely not.

Is it understandable? Absolutely it is.

It's not wholly unlike where the Western world has revealed itself to be right now - something which gives this volume even more cause for consideration.

One of the Editors, Gretchen Schultz, stated:

“There’s a certain appeal today for literature having a cynical edge,” she said. “The theme of disillusionment, at this moment in the US election cycle, is timely. And more broadly, the social and political turmoil at the fin de siècle in France, which contributed to the decadent ethos and its reimagining of classic fairytales, offers some parallels to our world that are worthy of contemplation.”

It should be noted, this interview statement was made ahead of both the 2016 US Election results and the still developing fallout of the UK "Brexit" issue.

But the tale of these tales - fittingly - doesn't end there. We choose to end the review by quoting from the introduction by Editors Gretchen Schultz and Lewis Seifert:

At the turn of the twentieth century, one critic optimistically predicted that after their nineteenth century decline, fairy tales would regain visibility, prompted by science itself. Were not electric lighting, horseless carriages, urban underground railways, and moving pictures all cause for marvel?
... As the twentieth century dawned,

fairies and genies began once again to show themselves to people. The first automobiles they caught sight of convinced then that the prophecy had been fulfilled. They believed that women travelling in automobiles were fairies come to revisit the realms they once inhabited. (Goyau 18)  

Technology might just have given new life to the "last fairy".

Additional note of interest to fairy tale folk and scholars:

Many of the fairy tales in this volume are printed in English for the first time.

TALES [* denotes those translated & published in English for the 1st time]

Fairies' GiftsThe Fairies of FranceDreaming BeautyIsolina / IsolinThe Way to HeavenAn Unsuitable Guest*The Three Good Fairies*The Last FairyThe Lucky Find*The Wish Granted, Alas!The Suitors of Princess MimiLiette's Notions*On the Margins of Perrault's Fairy Tales: The White Rabbit and the Four-Leaf Clover*The Ogresses*Fairy Morgane's Tales: Nocturne II*Bluebeard's Little WifeThe Green She-DevilCiceMandosianeFairy Tales for the Disillusioned*The Living Door Knocker The Mortis*Sleeping Beauty Didn't Wake UpPrincess of the Red LiliesPrincess Snowflower*Mandosiane in CaptivityPrince CharmingThe Story of the Prince of Valandeuse*The Pleasant Surprise*The Last Fairy*The Seven Wives of BluebeardThe Story of the Duchess of Cicogne and of Monsieur de BoulingrinThe 28-Kilometer Boots*Cinderella Arrives by AutomobileCinderella Continued, or the Rat and the Six LizardsCinderella, the Humble and Haughty Child*

Target + Wattpad Writers = New Book "Once Upon Now"

If you're a Wattpad member, writer or reader, you will have likely known about the #OnceUponNow contest that closed mid-year.

The news, however, is that they just published the winners' stories in a new book and it just hit Target shelves yesterday.

Digital writing community Wattpad has teamed up with Gallery Books to publish a new anthology of fairy tales for the contemporary reader. 

The collection is called Once Upon Now and takes a 21st century perspective on classic fairy tales. To promote the collection, the companies have started the #OnceUponNow. The promotion encourages writers on the site to promote their own modern fairy tale adaptation for consideration in the collection. Target is hosting the competition and will sell the book.

Here's the official blurb:

The stories are written by winners of the #OnceUponNow contest hosted by Target, in partnership with Wattpad and Gallery Books. In the anthology, Rapunzel is homeschooled in a high-rise apartment, and Sleeping Beauty is the victim of a rare medical syndrome. Classic tales like Princess & the Pea, Pinocchio, and other favorites are reimagined in the book.

The call was for short stories between 4 000 and 9 000 words and had to include "an engaging story about modern life or modern love that somehow alludes to or uses elements of a fairy tale or a myth" as well as no trademarked characters. (More of a description of the idea and parameters HERE.) Wattpad readers were to choose the top 25 via voting and the editors chose 10 for the book from there.

Here are the winning entries, shown via their "covers" (created by the writers to help attract their readers):

          

 
          

Wattpad member CliffJoneJr kindly compiled a list of eligible stories worth browsing (that is, legitimate entries as opposed to people just using the #OnceUponNow hashtag to gain clicks), put them in alphabetical order by tale and has given a one to three sentence plot synopsis that's worth reading all by itself. It includes a surprising variety of lesser known stories, including a Ukranian tale, the Sun Princess, Little Daylight, Jorinde and Joringel and the Princess Who Never Smiled.

All of the stories are still available to browse and read for free. You just need to join Wattpad to do so, which is also free.

Theater: "Bluebeard's Dollhouse"

Charles Perrault's murderous fairy tale "Bluebeard" merges with Henrik Ibsen's "A Doll's House" in this haunting, immersive promenade-style theatrical event by Combustible Company. Marriage, violence and the power of secrets converge as this production winds through the unique and intimate spaces of the Hill House. A murder-mystery unfolds using theater, dance, puppetry and live music, taking the audience on a seductive journey through the suffocating marriage of Torvald and Nora, underscored by the brutality of Bluebeard's murderous compulsion.

Well this sounds... disturbing-yet-amazing. Bluebeard's Dollhouse, is a new take on the never-nice Bluebeard tale and sounds quite intriguing. With curiosity as one of the key (heh) themes in the tale, it's surprising we don't see more murder-mystery or procedural framing for retelling this story. And a bonus? They're partnering with the Minnesota Historical Society to give you that extra haunted (doll) house feeling, using three of the available floors of the Hill House Mansion to stage the performances. Sounds like an immersive experience.

Combustible Company seem to have taken this show beyond a simple retelling and are looking at the tale a little deeper, and with an unusual slant. There's an interesting interview you can read HERE with the creators about how they came to this "mash-up", and how they will be using the various rooms, moving the audience around from time to time I'm excerpting some tale pertinent bits below:

Erik: ...it's not as crazy as it may seem. Both stories are captivity tales in their own ways and both contain a measure of violence. In one story it’s physical and in the other it’s emotional. Both contain secrets that threaten to destroy the heroine. Kym: As I was researching the Bluebeard fairy tale, I was struck by the power that marriage had over a young woman’s life – how Bluebeard’s bride was essentially held captive as wife, even as his property – and that the only real agency she had was to explore forbidden knowledge. This reminded me a lot of Nora in Ibsen’s play: she is defined by the institution of marriage, infantilized by her husband, and she harbors a secret that reveals both Torvald’s and her own true natures. Bluebeard, Torvald, and Nora are each “destroyed” by the revelation of their secrets, and yet, especially for Nora, this shattering of the mask is the promise of freedom.
Erik: Setting Bluebeard’s Dollhouse in essentially a 19th-century castle reinforces the intersection of the stories we’re weaving together and creates an atmosphere that’s simultaneously grandiose and intimate. 

What specific types of puppets are you using in this show?Erik: We have a number of dolls, both found and constructed, that will be puppeted by actors themselves, but will also be manipulated either directly or indirectly by other actors.
Kym: We will [also] be animating found objects: suitcases, knives, keys, mannequins, dolls. Everything is alive in this fairytale world. In the Bluebeard story, even the key is alive – it bleeds, telling Bluebeard of his wife’s transgression. (You can read the whole interview HERE.)

Digging for a little more information on the use of the Bluebeard tale, we found this "Support Bluebeard's Dollhouse" page, which explains a little more.

By merging Ibsen’s A Doll’s House and Perrault’s Bluebeard we create a new story, a “captivity tale” about the fight for personal emergence and acceptance that many face in our society. The struggle to “become human” and the emotional and physical violence that occurs when our humanity is limited by social constructs resonates most powerfully. In both stories the main characters struggle to be known for all that they are and hope for the redeeming power of love. They seek to escape the confines of society and reveal the “secrets” that contain the fullness of their humanity. In this marriage of stories both Nora and Torvald/Bluebeard act upon each other as catalysts for change, embodying our own need to confront terrifying truths locked away within ourselves and venture beyond the stultifying comfort of the Dollhouse into dynamic and transformative interaction with our world. They must transcend old notions of love and the rituals that anchor the status quo in their lives and risk moving into new definitions of themselves.

Perhaps the most informative of all, is this video, in which the creators explain their concept and "set the stage", literally:

This sounds like it's going to either be an amazing and unforgettable experience, or be so continuously bizarre for the audience the experience will head quickly into sensory overload. It makes us wish we had the choice to go.

It sounds perfect for some fairy tale themed Halloween entertainment!

Bluebeard's Dollhouse premieres on Friday September 30th 2016, with additional performances on October 1st, October 6th-8th and October 14 & 15. Each performance day has two times to choose from.

Boston Begins City-Wide Fairy Tale Reading & Discussion Of Kelly Link's "The Faery Handbag"

Charles Vess - The Faery Handbag (from The Faery Reel)

Yes. It's not a traditional fairy tale, but Kelly Link's Nebula and Hugo award wining novelette The Faery Handbag is one of those few "new fairy tales" that have stuck with us ever since we first read it, The Faery Reel: Tales From Within the Twilight Realm (Ellen Datlow & Terri Winding 2004). We have read a lot of "new fairy tales" and while the writing is usually lovely and, occasionally, a story will resonate with us, not many of those stories sink into our subconscious fairy tale soup and stay there, becoming part of the shared language. 

A very strange thing, to us, is that we remember reading it for the first time, and, while thinking it was kinda neat, though more modern, more magic realism than fairy tale, not what we would have thought as "fairy tale", so just went on to read the rest of the volume. But somehow the ideas and the story wouldn't go away and we found ourselves thinking about the story in the following days and well after that. We haven't looked closely at why this is. We agree the story feels more like a modernized Victorian fairy tale to us than a "classic" one - not our preferred tale types - but the ideas... they feel very like they fit, right in Faerie Land, and by Faerie Land we mean the land in which fairy tales take place, whether fairies appear there or not.

Magic bags that hold things larger than themselves aren't a new concept in tales. We admit we are quite enamored of the idea that you can pack an entire room - or house! - into a carpet bag (Mary Poppins, Merlin in the Sword and the Stone) and simply carry it with you to your new abode. Magic purses, sacks and knapsacks have been able to capture, tame and contain everything from the sea to Death (The Soldier and Death), not to mention come in useful for benevolent gift givers during the Yule and Christmas season. The classic rabbit in a hat magician's staple, is a variant of these as well. Modern fantasy films employ this idea regularly too, but Link brings a fresh take to this delightful idea.

But back to the news.

The annual One City One Story movement, launched as part of the Boston Book Festival, is a pretty neat idea. Here's what it is:

One City One Story is the Boston Book Festival’s version of an all-city read, but instead of a book, we print and distribute a short story. Our goal is to make a short story available to all, free of charge, to spread the joy of reading for pleasure among the teens and adults of our city, and to create a community around a shared reading experience.

As part of this initiative, in the past they have offered online translations and downloads, led citywide discussions, leading up to a town-hall style discussion with the author, library discussions, distributed the story throughout the city for free in multiple languages, held a writing contest, online reading groups and discussions with the author.

Shaun Tan's illustration for The Faery Handbag
is very different from Charles Vess'
but equally intriguing

This year they've chosen Kelly Link's The Faery Handbag, which means, people are having conversations and discussing fairies and fairy tales, especially in a modern context, in many different places in one city. Not entirely coincidentally, the story is also set in the greater Boston area, so locals are even more likely to imagine fairy tale magic just around the corner.

If you haven't heard of it, you will find many references to it. Here's a great way to introduce the central concept, by way of a discussion on fabulism:

Fabulism is a curious way to explore and understand the ordinary. In Link’s story, the speaker spends her time hunting for this handbag. It’s black, made from dog-skin, with a clasp of bone that can open three different ways:

 If you opened it one way, then it was just a purse big enough to hold […] a pair of reading glasses and a library book and pillbox. If you opened the clasp another way, then you found yourself in a little boat floating at the mouth of a river. […] If you opened the handbag the wrong way, though, you found yourself in a dark land that smelled like blood. That’s where the guardian of the purse (the dog whose skin had been sewn into a purse) lived.

Fabulism is a lot like this purse. It seems to belong to this world, but doesn’t follow all of the rules. It beckons you. It’s off. The more you explore it, the more mystery and power it has.

You can find the many, many different places they're giving out the story for free in a list HERE.

The Faery Handbag - Artist unknown

You can read the story online HERE or download an English, Spanish or Russian PDF, or a Kindle or Ebook version HERE (more languages coming apparently).

On September 28th there will be a discussion of The Faery Handbag, care of Boston's NPR, WBUR, and they promise other discussions throughout the community to be announced soon as well. There's also a writing prompt for a contest with prizes. (Gotta love that!)

Want more food for thought? Again from the highly recommended article on Diving into the Faery Handbag: On Fabulism:

The greatest part of the faery handbag is that there’s a wrong way to open it — meaning a dangerous way, a way that can eat you alive. And it’s that third compartment or “way of opening up” that separates the magical realism of childhood stories from the magical realism of stories for adults.

And because the proposed discussion questions are great to kick your brain into gear, even if you haven't read the story, we are putting the discussion prompts and questions below. Enjoy!

Chris Riddell - lady with carpet bag from sketchbook

Discussion Questions1. How did the jump between times/focuses affect your reading of the story?

2. Was Jake’s decision to go into the bag justified? Why or why not? Why do you think Zofia refused to let Genevieve go after him? 

3. After Zofia dies Genevieve becomes the official heir and guardian of the bag. What does this role mean if the bag is lost?  

4. Genevieve is a headstrong teenager entirely wrapped up in thoughts of her missing boyfriend and the fantastical world her grandmother taught her about. Does this make it difficult for you to sympathize with her or trust her as a narrator? Why? 

5. What lost item (like the Sesame Street shirt) would you like to find at The Garment District? What is the significance to you of finding something you thought was lost forever? 

6. How might this story have changed if Jake had not gotten expelled and MIT had not rescinded his acceptance? 

7. What is the importance of Scrabble tiles also acting as divination tiles in the story? Does it affect the way you read Zofia and Genevieve’s relationship to the game? 

8. What do you think will happen to Genevieve after this story ends? 

9. Does Zofia’s death (or absence, if you follow the thought that she didn’t actually die) force Genevieve to act differently than she would have before? If so, what is the difference?  

10. Do the characters in this story remind you of people you know? Is this affected by the familiar setting (greater Boston). Does this change the way you read the fantastical elements of the story? How? 

Writing Prompt 

In 500-700 words describe what you would expect or hope to see after disappearing into your own faery handbag for several decades. Email your story to info@bostonbookfest.org by Friday, September 30 for a chance to win a BBF prize package, including a signed copy of this year’s story!

The Boston Carpet Bag newspaper, 1851-1853

'The Little Mexmaid' by Cristina de Middel

As Mexican girls celebrate their coming of age at 15, when the Little Mermaid reaches this milestone she is officially be considered an adult and will be able to access the outside world of grown-up humans (Picture: Cristina de Middel/Nikon) 

Since we're (still) on the subject of The Little Mermaid, and specifically updating the classic story with modern and relevant-to-girls today themes, I thought this would be a good time to share a photo series I recently saw and bookmarked to share.

Nikon challenged three award wining photographers from different countries to update a classic fairy tale. The catch was they could only use four photos to do this and to tell a new version of the story. The stories chosen were Red Riding Hood, Snow White and The Little Mermaid. While the Red Riding Hood results were fun and had an interesting statement, (which you can see HERE) my favorite series by far was The Little Mermaid.

The photographer who chose The Little Mermaid was from Spain and on a recent trip to Mexico felt the fairy tale related very well to the coming of age traditions she saw being celebrated there. Cristina de Middel said she was inspired by the fiesta de quinceañera, or the introduction of a 'debutante' to the adult world, which is traditionally celebrated on the 15th birthday for girls, in Mexico.

Of her theme she said: ‘I saw first-hand the fascinating rites of passage in Mexico, and it reminded me instantly of the classic coming-of-age love story in The Little Mermaid.’

Middel titled her series The Little Mexmaid (which, incidentally, feels really weird to write. I presume Nikon wouldn't have published this title if there was an issue...). The first photo is at the head of the post, the rest are below and the photographer's captions are below each one:

Upon arrival in the human world, the Mermaid trades her fishtail for legs so she can experience what it feels like to be an adult woman. She goes to the Salon Los Angeles, a famous venue in Mexico City for ‘Sweet 15′ celebrations (Picture: Cristina de Middel/Nikon) 

The mermaid meets a Prince, who is a traditional Mexican Mariachi. The couple dance and she falls deeply in love with him. (Picture: Cristina de Middel/Nikon) 

Eventually rejected by the Prince for a Princess of the human world, the Little Mermaid sacrifices herself for love by exploding into fireworks. (Cristina de Middel/Nikon)

Here's the series altogether. Pretty poignant stuff:  

In Memorium: Miyoko Matsutani - Thank You For All The Tales

On February 28th, 2015, one of Japan's leading folktale scholars, collectors and writers, passed away. We lost a fairy tale hero that day  - a woman who made it her mission to preserve the folktales of Japan before they were lost to memory - and whether you know her name or not, we fairy tale folk have benefitted greatly from her life's work. I feel it's only right that I pay tribute to her memory and help her name be remembered.

She began writing fairy tales after graduating high school and wrote over 300 books (picture books, children's and juvenile literature) and was the first Japanese author to make the Hans Christian Andersen honor list (Award of Excellence) for Taro the Dragon Boy and won numerous awards before and since. A committed peace activist, her original works often used themes of war and peace.

She was also the head of, what I've seen described as "a folklore laboratory" which, although is probably only due to a weird translation, sounds awesome. (The real name of the organization is The Miyoko Matsutani Folklore Research Center.) Matsutani herself traveled all over Japan collecting folktales from ancient storytellers, as well as being a storyteller herself - something which, she seems to have done right up till she passed away. She has been instrumental in reviving the fading practice and art of storytelling in Japan, which diminished greatly when the Industrial Age began. Due to her traveling, storytelling, publishing and working with community centers, women's groups, schools and more, the practice is coming back, and although she alone can't take credit for it, she has been one of the key instruments in making that happen.

Her work hasn't been restricted to Japanese fairy tales and folktales either. She worked with Asian tales in general (in addition to her Japanese focus), publishing retellings of Chinese tales and fables as well as Korean, Vietnamese, Philippine, Indonesian and World Folklore collections. (Busy lady!)

Cover by Piotr Fąfrowicz

Here's a little summary extract on her scholarship contribution, from Books of Japan:

As head of the Miyoko Matsutani Folklore Research Center she collects and retells folktales from throughout Japan, and her Gendai minwa ko (Thoughts on Modern Folklore; 12 volumes) has earned praise for its compilation of folklore from the Meiji period (1868–1912) on. She is one of the true giants of contemporary children's literature in Japan, and her complete works have been published twice.

One thing I noticed in trying to search for her books, is that many of her picture books ended up being translated to Russian but are unfortunately difficult to find in English (apart from Taro the Dragon Boy).  You can however, see a whole lot of her Japanese covers HERE. It also seems like tracking down her multi-volume works and her collections of ghost stories and folktales isn't very straight forward either - something I hope will be remedied in the near future, especially since her passing has made it clear how valuable her work was.

There is a new book of hers due to be released in April, titled Shinano of Folklore (honestly - I haven't a clue how to read Japanese so I'm completely at the mercy of an online translator here. I'm not certain this title is correct..) Here's the synopsis, which sounds like a wonderful edition to looking at modern use of folklore and fairy tales in modern Japan and I'm not even going to try moving words around so it makes more sense to our English sentence construction. It has a wonderful charm reading it as is:

Japanese mind hometown revives now of the response with former TBS TV anime "Manga Japan Folk Tales" Mirai Inc. version proven caused a "folklore boom" and "Japanese folklore" series to many years of requests, outfit new We will. Illustrations are intact, the Kuminaoshi the print. "Shinano of folklore" is located in the knot of east and west, folklore that has been handed down among the natural Shinshu which is said to be Japan's roof. Crystal of wisdom, desire ancestors gave birth natural and human battle. 

A knot of East and West. I like that. We're all knots really...

I've done my best to track down the titles of the twelve volume series Thoughts on Modern Folklore (or Modern Folklore Considered) and have listed what I could find/understand below, along with most of the cover pictures. It will give you an idea of how wide her range of study and thinking was, which is pretty wonderful, especially when you realize in order to do this she was tracking the same thing we are here: fairy tale news and use of fairy tales in pop culture and entertainment.







1 Kappa Tengu - God hidden
2 Military conscription inspection and recruits of time
3 Laughter of ghost train, ship and automobile and ghost stories
4 Dream of news fireball missing out soul
5 Story went to news - underworld
6 Home front, thought suppression, air raid, Battle of Okinawa
7 Schools, laughter and ghost stories
8 Laughter of radio, television and ghost stories
9 Echo snake, tree spirits, war and wood
10 Wolf jackals, cats
11 Raccoon mujina
12 Photos of Kai civilization

Here's link to the WHOLE SET.

Here are some other folktale books:

                            

                         Modern Folklore:
                        You Narrator, I Also Narrator

Folklore of the World

Japanese Mythology

Just a few of her "Momo-chan" (peach-chan) books, so beloved by Japanese parents and children. They were based off of her motherhood diary she began keeping when she had her first child.

These don't even begin to cover her books for children and teens with series such as "Story Gems", "Once Upon A Time", a "Thriller Restaurant" series for teens, illustrated folklore collections for children and babies (yes, babies), a huge Japanese folklore series and many, many more. Have a look HERE to see a massive range of titles at Amazon Japan.

Rest in peace Miyoko Matsutani.

Thank you for all the tales.

Additional sources: HERE & HERE