Tuesday, July 23, 2019

148th Tale of Asbjørnsen & Moe (aka the 'abominable' tale) Just Got An English Translation #notforkids

I want to be an angel although to die, is hard,
but oh the bliss, to think of this, I'll make good Fairbank Lard" - [ca. 1870–1900 postcard]
Hold on to your hats!
Asbjørnsen & Moe fan and London-born, Norwegian-resident translator, Simon Roy Hughes, (whose translation work was just featured in the last TWO editions of the scholarly journal Gramarye), just found a 148th tale that has been missing from almost every publication of Asbjørnsen & Moe tales.
                         

Here's how our Editor and Head Fairy Tale News Hound found out:



Simon has kindly given us permission to republish his translation in full here, but do be warned - this is not for kiddies and it's pretty clear why it has been quietly missing from Asbjørnsen & Moe volumes. Typical of the period with regard to violence, it does still seem to go a step further with how graphically it's described, so read at your own discretion.

Parson Sausage

(translated by Simon Roy Hughes)
(re-posted in full with kind permission)
There was once upon a time a girl who had been allowed to go to church to attend Mass. But she lived far away in the forest, and the church road was so long that she had to leave home early on Saturday. She walked and she walked, but however she walked, she did not arrive; she had trodden wild grass. She walked and she ran, but she didn’t find the church, nor did she come to folk, until late in the evening; then she came to a cabin far away in the forest. A light shone from the window, and inside a woman went about, cooking and tidying. So the girl went in and asked for a place to stay.
“God help me for a house this is!” said the woman; “I cannot let you stay, I cannot; it would be better to stay in the forest, beneath the sky, than to stay here,” she said, “for here dwell twelve robbers; they are my sons, and if they see you, they will kill you on the spot!”
But the girl said it was better to have a roof above her head, no matter how wrong, than to be out in the forest, beneath the night sky. Well, then she would be allowed to stay, and when they heard the robbers coming, the woman hid her as well as she could, in a corner behind some clutter which lay there. Then came all twelve faring, and between them they had the parson in his parson’s cassock, and in full church decor. They laid him on a stool and stabbed him in his throat with a butcher’s knife, butchered him like any other pig and hung him up by his hind legs. They put his blood in a butcher’s pail, made sausages from it, and cooked and roasted and ate well enough.
The girl did not feel very brave, and she did not think that her life was worth many shillings, there where she lay. But when they had eaten their fill, they settled down, the robbers, and early on Sunday morning the woman woke the girl up, put her on the right path, and then gave her some sausages as food along the way, and bade her hurry so that the robbers wouldn’t take her. But that was something she needn’t bid her, for the girl ran as quickly as she could, and then some. And when the day began to to dawn in the forest, and she glimpsed the church, then she heard a rumbling; the robbers were after her, and wanted to catch her, and so she flew away from the fields, as she thought, and when she saw the church congregation standing on the church hill, waiting for the parson, she swung the sausages in the air, crying: “Parson sausage, parson sausage!” - Then the congregation understood what had become of the parson, and so they immediately took the robbers. Some they beat, and some they hanged, and some they rolled in nail barrels. They caught eleven, but the twelfth escaped, and he walks and crawls and skulks, and if you aren’t very good, then he’ll leap down across all the hills and take you. There he is!

  1. This tale has been printed but twice: once in Norske Illustreret Kalender (1853), and once in Østberg, Henning. Asbjørnsen og Moes eventyr og sagn en bibliografi (2011). It has been called “The Secret Tale,” and considered an “abominable tale,” for reasons that are quickly apparent. I doubt I will be including it in the complete collection, but who knows? 
We thought we'd include the social media exchange after all was revealed as well, for your enjoyment:

Note: Simon has  A collection of Erotic Folktales from Norway, available, and a Norwegian edition of The Three Bears (with nine original illustrations). See below for the links.


We also thought Parson Sausage read as if it were related to The Parson's Mother.  It feels almost like part of the same story (with Parson Sausage being the end of it all), so we asked Simon about any connection. Here's his reply:
So, sort of related.
We will have to wait and see just which book covers this newly translated abominable, secret tale will land between...

Thanks Simon! 

You can read more of Simon's project of translating Norwegian Folktales (that is, to complete the translation of all of Asbjørnsen and Moe's collected tales to English), at his blog HERE. Here's his explanation of the project to inspire you to explore the ever-growing treasure trove there:
About the Norwegian Folktales Project by Simon Hughes 
The collection 
Peter Christen Asbjørnsen and Jørgen Engebretsen Moe collected and published Norwegian folk tales and legends in the middle of the 19thcentury. Whilst some of the tales are very well known in the English-speaking world, such as "The Three Billy-goats Gruff," many more are completely unknown, never having been translated. Imagine! All the trolls and hulders and nisses you may not have read about, yet. 
(FTNH Ed. As an example, The Pantheon Fairy Tale & Folklore Library edition of Norwegian Folktales contains 36 of the 110 listed as being collected, not including the 31 additional tales from the 'Round the Yule Log' collection, which doesn't count the variants of a few of those either. All other A&M English collections we've found have the phrase "selected from the collection of" in the subtitle. Even with the final tale numbers being a little difficult to count in light-research-mode, it's clear most English collections fall far short of including the bulk, let alone all, of Asbjørnsen and Moe's collected tales, so we're very excited to learn of this project!)
The project 
My intention with this project is to give the collection the treatment it deserves as a part of our world literature, and translate and publish the folklore that Asbjørnsen and Moe collected, in English analogues to the original publications. I am beginning with Peter Christen Asbjørnsen's Norwegian Hulder Tales and Folk Legends (1845/ 48), which has not appeared in English before. As I progress, I will continue to publish each tale on this site, when I have edited it enough to call it a final draft.
Simon (click his name to learn more about him) has a mailing list to keep you in the loop for updates and new tales, which we highly recommend joining. He also has an intriguing book of Erotic Folktales From Norway...
Click on the image above to be taken to the book options.
Every purchase supports his work!
... and a new English translation by Simon, of a Norwegian version of the Three Bears by P. Chr. Asbjørnsen. It's available in ebook format or print-on-demand. Click on the image below to find out how to purchase your own copy.
It's probably easiest to find Simon on Twitter HERE - something we also recommend. Personable and with that true "folklorist-joy" of discussing all things fairy tale (but particularly those of Norwegian origin), he's a continual delight to tweet with. His comments and insights are most commonly seen being retweeted and discussed on our favorite day in social media each week, #FolkloreThursday.

Friday, July 19, 2019

Opera: Magical Lilies, A Family Curse & A Half-Winged Prince Take Center Stage in "The Thirteenth Child"- World Premiere July 27

Composer Poul Ruder is probably best known for his well-received, operatic adaptation of Margaret Atwood's The Handmaid's Tale, which was called “an outstandingly effective piece of music theater” by Opera News and as “a riveting, kaleidoscopic score” by The New York Times. With four operas with serious subject matter already under his belt, Ruder wanted to produce a more positive, less weighty work of fantasy and the Brother's Grimm fairy tale, The Twelve Brothers (a variant of the better known The Six Swans, also a Grimms tale), hit the spot.
CD cover
“In 2010, I finished what I thought would be my last opera,” said composer Poul Ruders. “But being a composer, I knew that somewhere there was a subject lying in wait for me to put my paws on. For a Dane to do a Hans Christian Andersen story would be too obvious! So I went for The Brothers Grimm instead. 
In reading through their stories, I kept coming back to this one, which I think is emotionally very potent.
“As opposed to The Handmaid’s Tale, which is an opera for grown-ups, I would say that The Thirteenth Child is good for all ages, including children, who I hope will find it kind of scary. If not, I haven’t done my job very well. I think if you can sit through a Harry Potter movie and enjoy it and not have to leave the bedroom light on at night, you’ll love this! (SantaFeOpera - season announcement)
Ahead of the world premiere next week at the Santa Fe Opera, in New Mexico, a CD has been released.

From Santa Fe Opera:
QUOTH THE RAVEN, “NEVERMORE” 
Costume board for The Thirteenth Child opera
Forget about magic beans and bowls of porridge—this fairy tale is a “down-to-the-wire” thriller, inspired by the Brothers Grimm. A paranoid king banishes his twelve sons in favor of Lyra, the thirteenth child. When Princess Lyra learns about her long-lost brothers, she embarks on a quest to find them. Like all the best fairy tales, it has an enchanted forest, riddles, a handsome prince, a horrible mistake, and a nearly impossible feat for Princess Lyra to perform if everything is to be put right. 
Don’t miss it, especially if you want to live happily ever after! 
(Synopsis)Act I, Scene 1
The neighboring kingdoms of Frohagord and Hauven are in crisis. Following a warning by his embittered cousin Drokan, Regent of Hauven, King Hjarne of Frohagord is convinced that his twelve sons are plotting to overthrow him. The twelve princes, oblivious to their father’s paranoia, play in the courtyard. The enraged King threatens his sons, telling his pregnant wife, Queen Gertrude, that she must provide him with a female heir, as “only she shall wear the crown”. Gertrude calms Hjarne and they sing of the Lilies of Frohagord, magical flowers that protect the kingdom. When Benjamin, the youngest prince, innocently plucks a lily from the garden, Hjarne flies into a mad rage and strikes Gertrude. Drokan, observing the encounter, admits his love for Gertrude and feels “the trembling of the earth.” 
The Twelve Brothers - first third of a banner illustration by (Phillis) Ming Hai
Act I, Scene 2
Eighteen years have passed and King Hjarne has died. At Hjarne’s funeral, Frederic, the young heir to the throne of Hauven, and Drokan, and the mourners tell of the mysterious disappearance of the King’s thirteen children and the shadows that haunt the kingdom. Queen Gertrude, now mortally ill, and her daughter, Princess Lyra, enter the Royal Chapel. Gertrude is repelled by the sight of Drokan, while Frederic is drawn to Lyra. Drokan plots to usurp the Kingdom of Frohagord and Frederic dreams of the day when Lyra will be his.
 
Act I, Scene 3
Queen Gertrude is on her deathbed, attended by Princess Lyra. Lyra asks her mother why she was sent away from Frohagord when she was young. Gertrude instructs Lyra to open a secret drawer where Lyra finds twelve shirts embroidered with the red Lilies of Frohagord. Gertrude reveals that the shirts belong to Lyra’s twelve missing brothers, who were also sent away, taking Frohagord’s lily bulbs with them. Before dying, Gertrude begs Lyra to find her brothers and heal the family’s wounds. Lyra vows to find the twelve Princes. 
The Twelve Brothers - second third of a banner illustration by (Phillis) Ming Hai
Act II, Scene 1
Lyra wanders through an enchanted forest, coming upon a cottage with twelve lilies in bloom. She encounters Benjamin, whom she learns is the youngest of her brothers. In the distance the older brothers are heard as they return home from a hunt. Benjamin, who fears that his brothers will seek revenge against Lyra, hides her. After his brothers assure him that they will do no harm, Benjamin reveals Lyra, much to the joy of all. Preparing for a celebratory feast, Lyra cuts the red lilies, unintentionally casting a spell that transforms her brothers into ravens. She is devastated by her tragic mistake. 
Act II, Scene 2
Queen Gertrude appears as an apparition and tells Lyra that in order for her brothers to return to human form, she must remain mute for seven years. 
Act II, Scene 3
Almost seven years have passed, and Frederic’s search for Lyra is rewarded. A great wedding celebration is planned by the people of Hauven. Drokan jealously plots to destroy the couple and gain the throne of both kingdoms. Before the wedding is to take place, a violent storm threatens Hauven, sending Frederic and his men away to rescue their countrymen. 
The Twelve Brothers - last third of a banner illustration by (Phillis) Ming Hai
 Act II, Scene 4
In the courtyard of the castle of Hauven, Drokan accosts Lyra and demands that she marry him. When she refuses, he binds her to a bonfire. As Drokan lights it, Frederic and his men return, and the twelve ravens swoop down, forcing Drokan into the fire. Suddenly, the lilies burst into bloom, returning the brothers to human form. In the battle, Benjamin is mortally wounded, his body half human, half raven, as he vanquishes Drokan. Frederic rescues Lyra from the bonfire. As Benjamin is dying, he finds peace, and all sing of the restoration of hope.
You can read about the creation of the opera from a fairly extensive New York Times article HERE, and see how they adjusted the fairy tale story for the opera. While it seems the opera does stick quite close to the source material, there are some updates that creator Poul Ruder felt was needed for the work.

Here's a nice little visual insight from Director, Darko Tresnjak in discussing the set:
Costumes for The Thirteenth Child, showing the "red lily" motif
"What initially struck me about The Thirteenth Child is that every moment in the tight, suspenseful libretto is essential. We are plunged into the dizzying, fearsome story from the opening measure. What follows are seven swift scenes, each one set in a new location, each one introducing a new crisis. 
The set is based on a tower that Alexander Dodge, our set designer, saw as a child. There is a bird’s eye view of the tower, the sensationof staring down the stairwell. It made me think of Hitchcock’s Vertigo, especially the tower scene at the end and the famous dolly zoom effect. 
I think of this upended environment as the interior of King Hjarne’s addled, paranoid head. The nightmare into which he plunges his family and his kingdom. The set will give us the opportunity, through the use of projection mapping, to swiftly move from one location to another and to create moments of terror and of wonder."
The Twelve Brothers - full banner illustration by (Phillis) Ming Hai -  click to view full size
 Here are some musical excerpts from The Thirteenth Child, with subtitled libretto and some lovely drawings, to give you a taste:
There is a special Q&A event with the creative team happening next Friday, July 26th:

Conversation with Creative Team of The Thirteenth Child
Moderated by Cori Ellison, Santa Fe Opera Dramaturg
Time & Location: Jul 26, 6:00 PM
Collected Works Bookstore and Coffeehous,
202 Galisteo Street, Santa Fe, NM, USA
THE THIRTEENTH CHILD
Poul Ruders, composer
Becky and David Starobin, librettists
New Production. A World Premiere.
Co-commission and co-production with Odense Symphony Orchestra.
July 27, 31; August 9, 14, 21
Click HERE for tickets

ADDITIONAL ILLUSTRATIONS NOTE:
'Banner' illustrations throughout are from The Twelve Brothers by (Phyllis) Ming Hai. Please see her website and social media links below to view more of her lovely work.
WEBSITE: phyllisminghai.com 
TWITTER: @CloudieNine
INSTAGRAM: cloudienine

Tuesday, July 16, 2019

As Pretty As It Is, The New "Lion King" Leaves Little To The Imagination

Quick Q&A before we start:
Q:   Is "The Lion King" a fairy tale?
A:   No.
Q:   Then why is it on OUABlog? 
A:   Since Julie Taymor brought her culturally-aware adaptation to the Broadway stage, it's been retold using aspects of tradition, folklore and folktale.
Q:   How?
A:   The theatrical adaptation connects us to (South) African folklore, culture and storytelling, echoing traditional folktales, in a way the original film never did.
Q:   OK but isn't the subject here the new CG/live-action film, not the stage musical?
A:   Yes - and because cultural representation is a big aspect of this remake, we're doing our due diligence to make sure we don't overlook a new folktale-based connection.

So let's get into it:
When Things Get Real
The first wave of reviews are in for Disney's live-action Lion King and they are... not great. It's opening week (the film opens in regular theaters on Thursday July 18th) and the film has already made a mint, of course, but will it be the billion-dollar baby Disney is expecting? The trailer was one of THE most viewed trailers ever online, so it's clear that curiosity is high and people are very motivated to see it (aka spend their money). But the "such-good-CG-animation-it's-hard-to-tell-what's real-and-not" appears to be both its strength and its curse.

While it does look a lot like real animals (there will be generations of misinformation for National Geographic and Animal Planet to undo!) it's not quite real enough to find the sweet spot between realistic animal expressions and anthropomorphization. (Note: The Disneynature film, Born In China, is a perfect example of how careful filmmaking with live animal footage can be both emotive and unforgettable.) With just days before the general public gets to see what all the fuss is about, a lot of 'sneak peeks' have been released, trying to "hit them in the nostalgia" and entice folks toward the box office this weekend. But no matter how you frame it, the scenes look... well, lifeless. The leaked scenes look downright flat in comparison to the animated classic. What hand-drawn animation did so very well - brought a sense of humanity and impossible expressions and sentiments to wild animals, a sense that not only told an exciting story but sparked the imagination of children and adults everywhere, it would seem that this hyper-real CG approach cannot.

Disney Represents
"But that's OK", an enthusiastic group people are saying. "Look at what it has done!"

So what has it done?

Perhaps it has pushed the technical possibilities of CG animation further but not in a way audiences are really caring deeply about. (It's unlikely it will hold the same special place in young ones' hearts as Paddington 1 and 2 has managed to do.) What people are usually referring to, however, is the casting. It is a mostly black cast - African American people creating African characters - and that is wonderful to see. Even the musicians for the updated score show a much larger diversity in their number this time around. It seems most agree it's overdue and very important.

But it's not new.
Not by a long stretch - not for The Lion King.

Julie Taymor's vision for The Lion King on Broadway completely reworked the aesthetic of the animated film, and updated aspects of the story too. Instead of trying to replicate what the film did so well, it took the characters, revealed the real - and authentically cast - actors behind them and showed us who was telling the story. It was all about storytelling and the suspension of disbelief. Suddenly it didn't matter that there was a male lion in charge of the pride, because it became a human story, told through animals, just like a folktale. And boy did it resonate!

Beautifully conceived, staged, designed, acted, puppeteered and sung, and more, it was, is -over twenty years on stage and counting- live storytelling at it's best. It's outlasted all other Broadway shows and for good reasons. The experience is unlike any other - something people will often describe as "spiritual".
The first few minutes of that theatrical titan? Holy cats. Unforgettable. Giraffes, created by humans on stilts, strolling down the aisles. A rotating “gazelle wheel,” poetry in motion. An actress manipulating a wondrous rod-puppet cheetah creation, moving so that a feline licking its paw becomes a moment vividly recalled decades later. It was the stuff of dreams, and the highest sort of commercial art. 
(Michael Phillips for Chicago Tribune)
The Human Connection in The Lion King
The human heritage of ancient storytelling is echoed in the animals speaking, personalities overlaying the actors who wear animal masks almost as headpieces. As the audience watches the animals and the humans begin to blend together in their minds' eye, they become part of that storytelling.
Image result for lion king broadway
Taymor's vision and direction for the theatrical adaptation of The Lion King retold the same story as the film, yes, but she both adapted it for the medium in which it was told (the stage) and, very importantly, updated it (see below for the story and character modifications which have made a lasting a positive impact on the story) . The result was that it's a joyful celebration of life that stands on its own, not needing the original inspiration to validate it. It is its own, unique and separate experience and it's unforgettable.

Julie Taymor on the lasting legacy of The Lion King (emphasis in bold is ours):
Julie Taymor
“The characters in the animated film are so expressive and human,” she says, citing Jeremy Irons’s voicing of Scar, Simba’s villainous uncle. “I thought, ‘I’ll create this animal’s head to show the essence of who Scar is, but let his personality come through in the actor below the mask.’”

 Taymor was also keen to increase the presence and potency of female roles in The Lion King. She expanded the role of Rafiki, the shamanistic mandrill voiced by Robert Guillaume in the movie, making it a woman’s part and “the spiritual guide to the whole show.” She also buffed and toughened up the lioness Nala: “When you talk about lions, the females do all of it, including the hunt. So I threw out a lot of the soft stuff in the film and made Nala very strong. She’s got one of the best songs in the show, ‘Shadowland,’ which is about being a refugee, a subject that’s very topical right now.”
Indeed, for Taymor, a lifelong world traveler who has always integrated aspects of different cultures into her work, “The Lion King has lasted so long because it’s socially minded, and it has a sense of spirituality that connects with people all over. Everywhere I’ve been, there’s always something in the show that becomes distinctly political there.” 
At home, race is a particularly key factor. “You have to remember that 20 years ago, black people were mostly seen on television and movies as inner-city gangstas,” says Taymor. “And here we were, bringing Africa to the stage in this positive and powerful and beautiful way.” When tapped for The Lion King, Taymor says, she “told Tom and Peter I wasn’t going to cast white people in most of these roles. … This was way before Hamilton, before Obama. Lion King has given more presence to nonwhite performers than any show — as we now know, because many of them are now performing in Hamilton and in other shows.” (Source: Julie Taymor on The Lasting Legacy of The Lion King - Broadway Direct, Nov 2017)
The result is that the experience closes the distance between story and audience and makes the common humanity of the tale much more evident.  The actors bring the story, the audience brings their imagination - together it's a magic sweet spot.

Three Versions, Three Artforms? 
When the animated Lion King debuted, it wowed audiences with its stunning visuals, heart-stirring songs, and an epically presented setting. The impossibly-human expressions of the animals stirred hearts and made people care about the story. It was a new experience (at the time) to see animals in such an epic story (though animals as main characters in Disney films were common, a story on this scale with them was not), and audiences happily journeyed with them then relived the laughs and gasps on repeat when it entered their homes. It was animation as Art, telling a story in a way no other medium could. A live-action remake that does its best to replicate the original, without changing its form to accommodate a different medium (hyper-real CGI as opposed to hand-drawn) cannot hope to approach how unique the experience of the original was at the time.
On a conceptual level, (the 'live-action') “The Lion King” betrays the power of the hand-drawn artwork that once put the wonder into Disney animation from its earliest features. Favreau’s movie fails to grapple with how the unreality of the studio’s lush 2D artwork unlocked kids’ imagination and made it so much fun to suspend disbelief; the digital wizardry denies our minds the permission they need to dream. Julie Taymor’s award-winning Broadway adaptation is so transportive because it celebrates its artifice, not in spite of it. Favreau has likened the process of making this film to restoring an architectural landmark, but at the end of the day, he’s merely gentrified it. (David Ehrlich for Indiewire - emphasis in bold is ours)
The Power Of Nostalgia vs Imagination
But perhaps that's what the hype about the 'sound' is about. If you can, in fact, see the movie in a theater equipped to playback the full range of dolby+ surround-sound, then the vocal performances and songs might reach people in a new way, otherwise, they're relying on nostalgia being the driving force behind having people connect to - and like - the movie. It's certainly what the team keep talking about in their interviews - as if they know the visuals alone are not quite to par.
Nostalgia is not to be underestimated, of course, but the new film brings nothing fresh of lasting consequence to a now-tired story - one that was told better originally and also has a thrilling live experience as an option. In contrast, repeat visits to see The Lion King on stage make for a subtly-unique experience every time. With nothing new to say, creating a new and permanent place in people's hearts for the long term is less than likely. Perhaps listening to the soundtrack with an amazing sound system, with these new and powerful voices will create a much-needed new perspective on the story - which would be wonderful (we hope it does just that) - but then why have a whole new film? As Michael Phillips of the Chicago Tribune wrote:
"The new “Lion King” has every reason to exist in fiscal terms. It has no reason to exist as a movie we might take with us into our futures."
What Might Have Been
Tweet posted by @joamettegil
Once you hear the rumor that Julie Taymor approached Disney to direct the live-action (but turned down) one begins to wonder just what that film might have looked like. Perhaps, instead of a hyper-realistic CG film, it might have been a VR film, based on the idea behind the stage adaptation, with perhaps some blending of live-filmed performance with hyper-real CGI to echo the animalistic ancestral spirits invited to a traditional storyteller's fire.

Perhaps it might have been truly live-action with CG animation of the animals overlaid and intertwined as part of the story-telling, like @Joamettegil on Twitter suggested. (See pic on right.)

Either of these ideas has the potential to be breathtaking. Apart from avoiding the criticisms of hyper-real versus cartoon visuals, all the problems that come with trying to be 'too real' (and giving scientists and National Geographic a headache) are completely sidestepped, because it's clear it's not a lion story but a people story; one that you - the audience - can relate to. That could have been an AMAZING thing to see/experience! Thanks to a viewers' limited autonomy in VR, a slightly different experience for each viewer and viewing, would work to make the experience even more personal. In an era in which relevancy, representation, and authentic experiences that engage the imagination and connect with the viewer are very specific challenges, such an approach would have hit all those notes, and expanded story and legacy, still further.
Sure doing something unexpected would also have been a huge risk.

It may have been just what today's audience, stuck in the tug-of-war of "play-it-again-Disney-BUT-not-too-different-and-not-too-much-the-same" really need. 

Unfortunately, now we will never know.

Disney's "live-action" The Lion King comes to US theaters on July 18, 2019.

SOURCES REFERENCED:

YOU MAY ALSO WISH TO READ:

  • Let's Fact Check the Lion King by Naturalish - fun and light article, comparing some of the aspects of The Lion King to science (biology, ecology & species distribution - cool maps for the latter!) - great to share with kids, but with regard to the elephant graveyard myth, include this info from the University of Sussex: Research Shows Elephants "Remember" the Dead
  • New article published July 16, 2019, just as this article went live on OUABlog (not used for reference). This article acknowledges the stunning visuals created but also discusses how such an approach has brought a new set of unexpected problems. ‘The Lion King’ Review: Disney’s Circle of Lifelessness by Joe Morgenstern for The Wall Street Journal
Fanmade poster of the new Lion King 2019 by aliciamartin851 on deviantArt

Sunday, July 14, 2019

Obituary: Fairy Tale Scholar Prof. Bill Gray, Founding Director of Sussex Centre, Has Passed

Mourning Sand Dwarves in the Forest (China 2009) -photography by joeinchinatown
Professor Bill Gray (July 30, 1952 - April 8, 2019)

We are saddened to learn that William Gray, known as Professor Bill Gray, founder of the Sussex Centre for Folklore, Fairy Tales and Fantasy at the University of Chichester in 2009, considered one of the world's top fairy tale scholars, recently passed away on April 8th, 2019

"Bill’s work validated the importance of studying fantasy, which has a long yet often trivialised history in literature and folklore. His published scholarship used multiple perspectives to reveal the existential depth of fantasy and fairytales, and the rich intellectual substance in their study." (From an obituary in The Guardian, written by Donald Haase, published July 12, 2019)

Professor Gray was not only a scholar of fairy tale, fantasy and folklore, encouraging new thinking be applied to further studies in the field, but his interest and influence extended beyond academia as well. He put effort into making his knowledge, vision and enthusiasm for the field accessible to the public and himself available for the conversation. He's been a bridge between academic studies and pop culture, appearing in the media and making himself available to consult on theatrical projects (such as The Light Princess adaptation with Tori Amos for The National Theater in 2013), and was called by Universal Pictures to "serve as mythic and folklore advisor" for the blockbuster film Snow White and the Huntsman (2012).

The Sussex Centre is now called the Chichester Centre for Fairy Tales, Fantasy and Speculative Fiction, so a quick reminder if you have been following "The Sussex Centre for Folklore" (for short) but are now seeing "Chichester Centre" on social media, be assured it's the same folks. The Sussex Centre/Chichester Centre is also known for the biannual scholarly journal Gramarye, of which Professor Gray was also Founding Editor in 2012 - a wonderful and continuously relevant journal which we highly recommended subscribing to.  We've included some recent covers at the end of the post which you can click to enlarge to see the content overview. (Do call Chichester Centre in the UK directly if there are problems subscribing from non-UK bases. The folks there are lovely and helpful.)

"The (Chichester) centre reflects (Bill's) vision for the study of fantasy and wonder on an international and interdisciplinary scale, as does its scholarly journal Gramarye, which he launched as founding editor in 2012. As a site for conferences, symposiums, lectures, exhibits, concerts and other public events, the centre has become a mecca for scholars and artists from the UK and abroad."
Snow White and the Huntsman (2012 Universal Pictures)
While Professor Gray's work in the field of fairy tale, folklore and speculative fiction can't easily be summarized, the obituary in the Guardian gives an overview which shows how important his work has been, and we recommend you click through to read it HERE.

And we have yet to look forward to more of his work:
World Treasure of Fairy Tales & Folklore
Compiled by Prof. William Gray (2016)
Bill’s transcultural approach informed his book Robert Louis Stevenson (2004), which elucidates the Scottish writer’s biography as a “literary geography”, reflecting the contexts in which Stevenson wrote, from Europe to the Pacific Islands, where he traded tales with the indigenous islanders. Bill’s forthcoming edition of Stevenson’s fables and fairytales will, for the first time, give access to all the author’s fantastic works in the order and form in which he intended them to be read.
We are so thankful for all his work and enthusiasm. Through Sussex Centre and Gramarye Professor Gray influenced Once Upon A Blog for the better. Though we never had personal interaction with him, we are grateful to all folks at the Chichester Center who followed his lead and engaged willingly in conversations about fairy tales, and gave social support to the fairy tale enthusiasts in our corner, over the past ten years. We have no doubt he will be very missed.

We extend our deepest sympathies to his family, and to his students, friends and colleagues.

Note: For those wishing to learn more about his work, please click on the image below to go to Professor Gray's website. It has a lot of wonderful information on his work in fairy tales as well as fantasy and includes links to his public writing, pieces in the press, interviews, a list of his books and other publications (with links where possible). The website now also includes a page dedicated to remembering Professor Gray. We recommend taking some time to read them.