"Poor Unfortunate Soul: A Tale of A Sea Witch" by Serena Valentino Now Releasing 2015

If you've been a fan of fairy tales and comics in particular, you're probably aware of the name Serena Valentino. She's also a multi-published novel author and is currently under contract with Disney Press to do a series of novels telling the stories of classic Disney villains. (Apparently, her fairy tale comics, Nightmares & Fairy Tales, were a major factor in her getting the Disney contract, which is interesting since they're very far from what is usually considered the "Disney brand" style and subject material.) Her first, Fairest Of All: A Tale of the Wicked Queen, first published in August 2009 was impressive: lyrical, poetic, fresh and somehow still very true to the movie. I really loved it - both as an alternate look at Snow White and the character of the Queen and as a very different stand alone book. (We had an overview back in 2009 HERE.) To her credit, it didn't feel "Disney" as we usually think of either. I didn't expect it to stay on my "fairy tale retellings to keep in reach" bookcase, but it has a permanent place there.

Her second villain novel was The Beast Within: A Tale of Beauty's Prince published July 2014. (Don't jump on me for calling The Beast a villain - you need to read the book to see just whom it's about and why it's a villain's story.) It shared some aspects of the first novel, in particular three intriguing, yet bizarre characters - Odd Sisters - who are very much like The Fates. Personally I didn't enjoy it nearly as much as the first, although some of the pre-Belle's story scenes of The Beast trying to figure out relationships and friendships were wonderful.

We've known for a while now that she's been working on the third installment, based on Ursula from Disney's The Little Mermaid. (Yes, all of the books take the disney story as the starting point and develop from there, sometimes weaving back into classics, and Angela Carter, other times, moving somewhere altogether new.) While the title is yet to be confirmed, it looks like it will now be Poor Unfortunate Soul: A Tale of a Sea Witch, and that the release date will be moving up from sometime in 2016 to this year instead. Ms. Valentino is currently working on the first pass editor notes for the completed draft (which was very favorable, hence the hint at an earlier release), and just this past week shared little bits from the first chapter.

Here's a sneak peek at the first glimpse:

And here's what she shared with her Facebook friends this week:

As you can see above, so far the covers for the series all show the "classic villain" on the outer dust jacket and the hard cover of the book shows the "unseen" side. I'm curious to know what the inner one will be for Ursula...

Note: A fan put this pic of the dual cover for Fairest together - creepy cool:

You can follow Serena Valentino for all her fairy tale writing news via her Twitter HERE and see her journal updates on her website HERE.

"Lamp Black, Wolf Grey": Review by Madison Lindstrom

"Lamp Black, Wolf Grey"

by Paula Brackston

Review by Madison Lindstrom

Editor's Note: Normally I wouldn't accept the offer of a review ARC that is mainly fantasy rather than having a fairy tale emphasis. However, I know many of those who love reading fairy tales, also love the Arthurian legends so I'm making an exception, especially knowing there are quite a few Brackston fans among readers here. Take it away Madison!

Jacket description: 

Some landscapes hold more magic than others. Artist Laura Matthews finds her new home in the Welsh mountains to be a place so charged with tales and legends, so teeming with the force of the supernatural, that she is able to reach through the gossamer-fine veil that separates her own world from that of myth and fable. She and her husband Dan have given up their city life and moved to Blaencwm, an ancient longhouse high in the hills. Here she knows that the wild beauty will inspire her to produce her best art. And here she hopes that the powerful nature of the place will give her the baby they have longed for for so many years. But this high valley is home to others, too. Others such as Rhys, the charismatic loner from the croft, who pursues Laura with a fervour bordering on obsession. And Anwen, the wise old woman from the neighbouring farm who seems to know so much but talks in riddles. And then there is Merlin. 'Lamp Black, Wolf Grey' tells both Laura's story and Merlin's. For once he too walked these hills, with his faithful grey wolf at his heel. It was here he fell in love with Megan, nurse-maid to the children of the hated local noble, Lord Geraint. Merlin was young, at the start of his career as a seer and magician, but already his reputation had gone before him. When he refuses to help Lord Geraint it is Megan who will pay the price.

The heart of any story is belief.  The reader must trust the author to lead them through the narrative and fairy tale stories have the added dimension of dealing, by nature, with the unbelievable. Paula Brackston’s latest novel, Lamp Black, Wolf Grey, delivers vivid world-building and a location-rooted story you can trust to take you through the elements of the unknown. Similarly to her novel, Silver Witch, this book also brings together characters from separate times, past and present. For Lamp Black, she 
combines the mythic world Merlin inhabits with our own mundane present, and draws each in lyrical and authentic prose.

Merlin is the story’s major rooting point to the mythic and his story transcends the separated worlds and characters.  He exists in a romanticized medieval time with his lover Megan, but lives also in present day, where he meets Laura Matthews. Laura and her husband have moved to the hills in a last-ditch attempt to have a baby and save their marriage. By happenstance, these are the same hills Merlin haunts. While Merlin is the connecting character between the plots of two mortal women, it’s unclear whether he is immortal or if his presence in the present day exists only in a separate story realm which Laura has insight into.

Brackston uses Merlin as archetype rather than character. This Merlin is a younger version than typically seen in Arthurian legend and has been given a new lover, Megan. Having Merlin in this story, considering he is such a solitary character, is an interesting juxtaposition with the other theme of the story—love, both romantic and maternal.  Two main plot points revolve around Laura’s desire for a child, as well as Merlin’s relationship with Megan.  Placing Merlin against this background humanizes him to an extent that most legends don’t. 

Lamp Black, Wolf Grey, has all the elements which make this a wonderful fantasy tale. A mythic past, Celtic magic, true love, and the most recognizable of all wizards: Merlin.   If your interest lies in the nitty-gritty of the Merlin legend, this book is not for you.  For the rest of us, however, Paula Brackston creates a sensory world, and her book offers an undemanding, entertaining experience. Her descriptions of medieval life made me want to curl up in a castle turret and watch the world go by. I recommend Lamp Black, Wolf Grey to lovers of the country-side, and to readers looking for an accessible story.

Disclosure: A complimentary ARC was given by St, Martin's Press in exchange for an honest review.

Madison Lindstrom is currently an undergrad in Creative Writing. She lives in a small, mountainous town, but dreams of traveling the world. She also loves reading, writing,  mythology, and of course, fairy tales.   Find her at  https://brontesbennetsbibliophiles.wordpress.com/

Theater: "Neck of the Woods" Tells the Wolf's Story Like You've Not Heard Before

I will admit, I was skeptical too when I first read this claim: haven't we seen Red Riding Hood and every incarnation of the Wolf and wolves, done to death? But Neck of the Woods promises something a little different, and certainly, the approach is quite unusual.

Here's the description:

MIF (Manchester International Festival) has invited Turner Prize-winning artist Douglas Gordon (Zidane: A 21st Century Portrait, Douglas Gordon and Philippe Parreno) and celebrated pianistHélène Grimaud to create Neck of the Woods, a portrait of the wolf brought to life in a startling collision of visual art, music and theatre. 

On the stage of HOME’s intimate new theatre, legendary actor Charlotte Rampling (The Night Porter,Broadchurch) will recite and perform the story of the wolf as never before. 

Grimaud will curate and perform a series of works for piano, while Gordon will create the visual world. They have collaborated with Rampling and New York-based novelist and playwright Veronica Gonzalez Peña, weaving together stories, music, motifs, phrases and fragments to build this lyrical and beguiling work. 

In a new partnership to support their ongoing creative development, the Sacred Sounds Women’s Choir, first formed for MIF13, will perform as part of the soundscape to the production.

The Guardian has a lengthy and in-depth write-up on the show and the creators, (wonderfully titled "What Large Teeth You Have!") something which those who are interested in exploring the darker themes of fairy tales and LRRH in particular will find very interesting. (Note: this article does get a little dark with it's language and descriptions but also talks about the wolf as portrayed in literature and myth - why so negatively and the nature of man in contrast. It's a very interesting, recommended read.) Here are some excerpts:

Helene Grimaud working in wolf preservation

“For me, the most important thing is to be as close to the dark as possible, and then, when the lights come up, it should be the same as when you’re a child, when you have a nightmare and then you wake up and you feel safe and then you’re frightened to go back to sleep.” In his gravelly, laconic Glaswegian voice, the Turner-prizewinning artist Douglas Gordon is painting me a picture of a new play about the Big Bad Wolf that he is directing, designing and performing in at this year’s Manchester international festival. 

Entitled Neck of the Woods, it is a retelling of the Little Red Riding Hood story, and brings together an impressive group of talents: Gordon, the concert pianist and wolf conservationist Hélène Grimaud, Charlotte Rampling and the acclaimed Mexican-born writer and film-maker Veronica Gonzalez Peña. 

...For the story, Gordon asked Gonzalez Peña for something “very loosely based onLittle Red Riding Hood”. Her script will draw on the many different takes on the wolf myth in literature, bringing them together in a collage of narrative, sound, lighting and singing. 

The wolf has not had a good press in literature. For Aesop, writing 600 years before the birth of Christ, it is a creature without virtue. It is insatiable. It is deceitful and selfish. It eats children.

Gustav Dore 

...in western culture the rapacious reputation has conquered all others. And so the wolf, and its humanoid incarnation the werewolf, has stalked its miscreant way through legend and literature, from the tales of Perrault, the brothers Grimm, De La Fontaine and Hans Christian Andersen, through Dracula, Tolkien, CS Lewis and Prokofiev. When film came along it took up the baton and countless werewolf ripper movies have been inspired by Guy Endore’s 1933 cult novel The Werewolf of Paris. 

For all this negativity, the last century has seen a change in attitude to the wolf. Kipling casts the wolves in a benign role in The Jungle Book, as the saviours of Mowgli. JK Rowlingoffers a sympathetic portrait of a man fighting his inner werewolf in the character of Remus Lupin in her Harry Potter novels, while Stephenie Meyer’s tribe of shape-changing werewolves are warriors against the forces of evil in her Twilight novels. And of course there is the short story by Angela Carter, “The Company of Wolves”, which subverts traditional sexual attitudes to Little Red Riding Hood and ends with the girl stripping off to take her pleasure with the beast.

"Neck of the Woods" 

It is against this backdrop that Gonzalez Peña, in conversation with Gordon, has woven her script, bringing in references to Freud and the little-known but influential early 20th-century American writer Sherwood Anderson. I ask her whether, with a mind to Grimaud’s conservation activities, the play will try to right the malign image of the wolf. No, she says, it’s not going to be a polemical piece. Grimaud acknowledges that a didactic approach would not work artistically: “In the beginning, I suppose a part of me thought, ‘Great, we’re doing a piece about the ecology and the behaviour of wolves. We are rectifying the story and telling the facts,’ and, of course, it couldn’t be that.” 

For Gordon, it’s not about real wolves at all. “It is more to do with the metaphor of the wolf. There is the history of the she-wolf, but mostly wolves represent a bad man. One of the things I wanted to explore with this project in Manchester was that there is badness, there are bad reputations and they’re not without any foundations. I think men are worse than wolves, for sure.”

And a note from the actress Charlotte Rampling, who narrates the play, as the "third wolf", via the Manchester Evening News:

Charlotte Rampling, Douglas Gordon & beloved arctic wolf (preserved)

..Rampling would be the first to admit that she was once a child scared of the big bad wolf. 

“When you re-read those stories when you’re older - the Hans Christian Andersen ones, the Brothers Grimm - they really are terrifying, they teach you really wild things,” she laughs.“You might say, ‘Oh gosh, children can’t hear this!’, but children do need to get a handle on primitive violence and the difference between right and wrong, who’s going to get eaten and how we’re going to adjust to rather terrifying situations.“Those stories have been read to children for so long there must be something essential in them that we believe children do need. And nursery rhymes - they’re pretty cruel too.” 

Cast by Turner Prize winning artist, writer and director Douglas Gordon and co-writer and pianist Hélène Grimaud in Manchester International Festival production Neck Of The Woods, Charlotte will be tackling the topic of the wolf in fiction - in particular, picking apart the reputation of this majestic woodland beast. 

...Charlotte is a multi-part interpreter of the story: as narrator and actor, she switches between the role of parent reading to their child and the protagonist of the story.

I want to include this final note from Rampling's interview as it speaks to storytelling today, something which is (unfortunately) often run over by film, TV and 'moving image' entertainment. I think what she says speaks to an re-emerging interest in live storytelling once again, albeit in a different form of multi-media. It's something I think we, as people who watch fairy tales continue to live in being told and going from one incarnation in popular thinking to another, as they're told, retold, spread, discovered and re-discovered, should take note of:

Charlotte Rampling

Having the innovative creative environment of MIF to transform into this multifaceted character is what encouraged Charlotte to take the role. “It is enabling these forms of creation to happen,” she says about the festival. 

“If everything is filmic language, we don’t give people a chance to express where they really are in the world. With experimental language, it means you can really research areas that you won’t at all be able to do in the theatrical system.”

"Neck of the Woods" plays in Manchester at HOME, as part of the Manchester International Festival, from July 10th-July 18th 2015.

Ukranian Folklore & Riddle Illustrations by Valentina Melnichenko

I promised to share these a while back and thought it about time I did, now that I've tracked down all of them (I think!). These are, as far as I can make out, from a book published in 1988 in the Ukraine, on folklore and riddles. (Valentina Melnichenko also illustrated the very "red" Little Red Riding Hood illustrations I shared HERE.)

I love these characters! And there are a couple of familiar looking ones in there too. The patterns are whimsical and fun but take a lot of skill to balance and still look carefree. Amazing work.

 

 
I regret I simply don't have the research time to hunt down where each illustration might be from tale-wise, but if you recognize any (or suspect a certain tale) please do share!