About JoMA

  • JoMA is published by the Endicott Studio, an organization dedicated to literary, visual, and performance arts inspired by myth, folklore, fairy tales, and the oral storytelling tradition.

    For generations, artists have drawn upon mythic and folkloric symbolism to make contemporary works addressing the issues of their time. Our mission is to honor mythic artists of the past, support mythic artists working today, and to carry this tradition into the future.

    "The job of a storyteller is to speak the truth," writes the great children's book author Alan Garner. "But what we feel most deeply can't be spoken in words alone. At this level, only images connect. And here, story becomes symbol; symbol is myth. And myth is truth."

    JoMA is a nonprofit webzine, supported by reader donations, and creative contributions from an international circle of mythic writers, artists, and scholars.

The People
Behind JoMA

  • Editorial Staff:

    Terri Windling, co-editor
  • Midori Snyder, co-editor
  • Jamie Bluth, assistant editor


    Additional Reviewers:

    Elizabeth Genco

    Heinz Insu Fenkl

    Kathleen Howard

    Helen Pilinovsky


    * Read JoMA staff &
    reviewer bios here.

Contact JoMA:


  • Information on:

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    can be found on our Contact Information page.

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Banner Art Credits

  • News & Reviews:
    "Elijah & the Raven" by
    Clive Hicks-Jenkins, Wales
  • Articles Page:
    "Mother Winter" by
    Jeanie Tomanek, Georgia
  • Fiction Page:
    "Red Riding Hood" by
    Terri Windling, Devon
  • Poetry Page:
    "Scarecrow" by
    Jeanie Tomanek, Georgia
  • Other Arts:
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    Mark Wagner, California

    The "willow" design background on JoMA's Home Page (and other pages) is by the great 19th century designer/craftsman/socialist/
    fantasist William Morris.

May 16, 2008

Celtic Myth Podshow

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Years ago, we used to listen to two radio shows every Sunday night, "The Mind's Eye," which featured fabulous readings of short speculative fiction, followed by the "Goon Show," wacky brainchild of British humorists Spike Milligan, Peter Sellers, and Harry Secombe. But with the advent of podcasts and video, one is now able to listen to hours of terrific programming at the click of a mouse.

The Celtic Myth Podshow is a wonderful place to while away time, listening to dramatic readings (with music!) of Celtic Myths, delivered in about 25 minutes episodes. Their series begins with the Book of Invasions, from the Irish Mythological Cycle. Each episode also comes with "show notes" which provide excellent reference materials, including maps, dramatic credits, musical credits, and additional links. There is also a fascinating blog that posts on all things Celtic -- from recent archaeological finds, preservation news, music, and materials for educators.

Irishcelticmusic And if you've a hankering for a little music, consider the Irish and Celtic Music Podcasts, a free bi-monthly downloadable radio program of Independent Irish and Celtic music. The program consists of "Irish drinking songs, Scottish folk songs, bagpipes, music from Ireland, Scotland, Brittany, Wales, Nova Scotia, Galacia, Australia and the United States. Hosted by Marc Gunn of the Brobdingnagian Bards."  Get out your i-pod and fill it up  -- there's tons of great stuff here.

Anyone want to recommend other favorite myth and fairy tale podcast sites? I'm thinking of putting together a collection of sites for our links page. Thanks!

May 14, 2008

Terri Windling's Studio Online At Last!

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I am very excited to invite all of you to browse through Terri's terrific new website, blog, and art galleries! (The Etsy shop is coming...). It is a truly wonderful place, filled with Terri's reflections on the craft of editing, writing, myth and folklore, recommended books, and finally, all of her wonderful art available for viewing. It's like Terri, knowledgeable and generous, beautiful and welcoming -- sharing her love of the mythic arts with all of us.

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Here's a list of the sections: The Studio Doorway, The Entrance Hall, The Easel (with links to galleries containing her paintings and collages), Studio Shop (art for sale), Writing Desk, Editing Desk, Inspiration Board, and Speakers Corner. The Drawing Board section is her studio blog (for news and works-in-progress) and also contains links to galleries containing some of her sketches.

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May 05, 2008

The Monday Video

Today is our May Day holiday here in Britain (even though May 1st was actually last week) -- a three-day-weekend holiday comparable (in practice if not intention) to the Memorial Day long-weekend in the U.S., but with its folkloric roots firmly planted in the pagan festival of Beltane.

In the last British census, a remarkable number of people identified themselves as pagans, wiccans, druids and pantheists. (Mind you, there was also a large contingent who identified themselves as Jedi Knights, so who knows how seriously people take these forms?) The Beltane_in_edinburghWest Country, where I live, has been a stronghold of pagan practices since ancient times, and one can still find many who hold pagan beliefs today -- not only in the young New Age community centered around places like Glastonbury and Totnes but also among the old country folk, some of whom see no conflict between adherence to both Christian and pagan spiritual practices.

Pagan and folkloric ceremonies are making something of a comeback in the UK, and various May Day celebrations, both old and new, can be found across the British Isles -- such as the Beltane Fire Festival in Scotland, the Padstow 'Obby 'Oss Festival in Cornwall, and the Parade of the Ooser in Dorset. Here in Devon, the pagan community has quietly engaged in ceremonies on hilltops and in old stone circles, while other parts of the populace celebrate with spring fetes sponsored by our village churches.

Beltane_morris_dancer_devon_2 The Monday Video this week goes out to all the folks who lit Beltane fires on the hills this morning. It's a clip of the Hunters Moon Morris troupe performing at Wimborne Festival. If you go to the YouTube page itself, you'll find a short description (in the text to the right of the video) of the Morris tradition and its connection to May Day. Alas, I can't find any video clips of my very favorite Morris troupe, Beltane Border Morris, here in Devon. They're a young, raffish, slightly punky group that seems to have stepped off the streets of Bordertown, performing Morris dancing in an incantatory, deeply magical way that absolutely gives me chills. Check out their website for pictures and information on their dances. (A dancer from the troupe is pictured on the right.)

Minneapolis_may_dayAmerica has its share of May Day celebrations too -- the most famous and elaborate one being the May Day Parade and Festival sponsored by the Heart of the Beast puppet theater in Minneapolis, pictured here.

For more information on Beltane, read this excellent article by Heather Shaw on the Strange Horizons website -- complete with advice on how to put on May Day festivities in your own community.

April 29, 2008

Of men and dogs...

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I was researching the folklore of dogs recently and came across a good, short article to share with you: "Black Dogs: Guardians of the Corpse Ways" by Bob Trubshaw (posted on the At the Edge website).

Artbymeinradcraighead"The dog is the oldest domestic animal," writes Trubshaw, "traceable to the paleolithic, since when dogs have enjoyed a peculiarly close relationship with humans, sharing their hearths at night and guarding the home, working during the day as sheepdogs or hunters. This close symbiotic relationship with people is reflected in the early literature where dogs seem to have clear connections with the Otherworld. But this is not unique to hounds as many species from bulls, boars, to owls and cuckoos have clear associations with deities which lead to ritual veneration. However, archaeological evidence and mythology brings recurring examples of a very specific role for dogs. They are the 'psycopomps', the guides on the paths to the Otherworld, the guardians of the 'liminal' zone at the boundaries of the worlds...."

0226895092If you happen to be looking for a more in-depth study of dog mythology, try David Gordon-White's wide-ranging, fascinating book Myths of the Dog-Man, from the University of Chicago Press. The Mythology of Dogs by Gerald and Loretta Hausman is also a good source of information on dog lore from around the world.

Olddogsbywilliamwegman_3As for dogs in magical fiction, I hope you haven't missed Kij Johnson's absolutely brilliant story "The Evolution of Trickster Stories Among the Dogs of North Park After the Change," published in The Coyote Road: Trickster Tales. (It can be read online here.) Reviewer Colleen Mondor was as bowled over by Kij's story as I was:

"Johnson takes a relatively simple idea -- that animals have gained the ability to speak -- and takes readers into an emotionally charged arena that is wholly unexpected and exhilarating. Once I realized the hook for this story, I thought it might be funny in a wry or maybe even sophisticated sort of way, but I didn’t think that Johnson would be able to touch my heart so deeply....'The Evolution of Trickster Stories' is a perfect story for classes on the modern short story; it conveys an amazing amount of powerful emotion in such few words and in a truly uncanny way."

I recommend reading Colleen's full review (over on the Bookslut website), in which she also looks at dog tales by Nick Abadzis (Laika) and Charles de Lint (Dingo), as well as a reptile novel by Wendy Townsend and animal poetry from Marjorie Maddox.

Monster_dogsKristen Bakis' novel Lives of the Monster Dogs is a Frankenstein-like story about a race of dog-people, designed by a mad scientist, now living in New York City. I loved the wacky premise, but didn't find the book itself entirely successful...Ellen Datlow loved it, however (as did many other people), so it's definitely worth checking out. On the mainstream shelves, I was impressed and occasionally unnerved by the hard-hitting stories in Brad Watson's Last Days of the Dog-Men. Despite the fanciful title, this is a collection of realist stories with just a tinge of surrealism at the edges...but don't miss it if you're a dog lover, or simply a fan of fine contemporary writing.

Macbetbywegman_3Art credits: The painting at the top of this post is from my Desert Spirits series, called "Coyote and the Dog Spirits." The second painting is by Meinrad Craighead, who often uses dog symbolism in her deeply spiritual and mythic art, which has been collected in a beautiful volume titled Crow Mother and the Dog God. The photographs on the left are "Old Dogs" and "Macbeth" by the dog-obsessed artist William Wegman. Visit his website to see more of his work. (There's a cool little flash movie on the homepage.) For more dog lore and art here's a link to to our previous post on the subject: Magical Dogs.

March 11, 2008

Speaking of fools...

Zanni_1806Yesterday's post on the Fool-ish theatre company Maison Foo reminded me of a couple of interesting Fool articles out there on the web that you might enjoy perusing: "Fools are Everywhere" by Beatrice K. Otto, and "The Survival of the Fool in Modern Heroic Fantasy" by Roger Schlobin. (For more information on fools, clowns, and tricksters of all sorts, see the Winter 07 issue of the Journal of Mythic Arts.)

January 02, 2008

Rousalka: Slavic Folktales

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It' s sort of a Rusalki morning for me, for in addition to mentioning Kitka's performance of The Rusalka Cycle (below), I also want to alert our readers to a gorgeous new book of Slavic folktales, Rousalka, Et Autre Fées du Mille et Unième Lac (Rousalka and the Fairies of 1001 Lakes), due out in France sometime soon. (Sorry, no publication date available yet.) The collection is a joint project between author Damien Vaillant and illustrator Agata Kawa, whose work is just absolutely wonderful -- a mixture of 19th century craft-style illustrations with a dash of Kay Nielsen, Rackham, and William Morris. Do have a look at her beautiful MySpace page, Portfolio, and website to see more of her art.

The Return of The Rusalka Cycle: Kitka

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Kitka, an all-women's ensemble specializing in Balkan music, collaborated a while back with Ukrainian-born singer and composer Mariana Sadovska to create the "The Rusalka Cycle," a choral performance of the laments of the Rusalka, the haunted spirits of drowned women. Due to the success of the show, Kitka has prepared an encore performance for January 4, 5, and 6th at Kanbar Hall in San Francisco. (Go here for times, directions, and ticket ordering.) Here's a brief description of the show from Kitka's website:

"In Slavic Folklore, Rusalki are the restless spirits of women who have died unjust, untimely, or unnatural deaths. They inhabit the waters, forests, and fields, luring people to them with their mesmerizing songs and wild laughter. Performed by the nine powerful female vocalists of Kitka, together with percussionist Loren Mach and cellists Jessica Ivry and Myra Chaney, The Rusalka Cycle is a riveting, dream-like journey that weaves traditional Eastern European folk song and ritual together with original music by Mariana Sadovska in a haunting and evocative contemporary theater production directed by Ellen Sebastian Chang.

"Our re-imagined 2008 production features new costumes by Valera Coble, lighting design by Jack Carpenter, sound design by Cuco Daglio, beguiling new characters, and many dramatic moments previously unseen."

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It's also worth noting that even if you can't see the show, the CD is available from the website. And do, do, do stop by their MySpace page to hear some of their gorgeous singing.

November 15, 2007

On fairy tales and hares...

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If any JoMA readers live in the south-west of England, I hope you'll consider attending the above event, which is part of the "Myths & Legends" season at The Big Red Sofa (in Chagford, on Dartmoor). I'll be talking about the history of fairy tales -- looking at the ways complex adult stories were turned, over the centuries, into simple fables for children. I'll be joined by storyteller Howard Gayton (artistic director of the Ophaboom Theatre Company), who'll recount some of the older, darker, stranger versions of fairy tales. (Please note that this is an event appropriate for adults and mature teenagers, not for younger children.)   

Contact The Big Red Sofa if you need more information. And keep an eye on the Sofa's new MySpace page (go "friend" them if you're a MySpace user!), and their new blog, Sofa Talk. Launching today, Sofa Talk will contain news, book reviews, event listings and general ramblings about life on Dartmoor. Right now, for example, there's a terrific exhibition on at the Sofa featuring the art of Jim Fortey -- including Dartmoor landscapes, mythological subjects, and many magical hares, as in the painting below:


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For more on the local mythology of hares, check out the Three Hares Project on Chris Chapman's website, and my article on hare and rabbit lore from around the world.

The video below is of Dartmoor musician Seth Lakeman performing "The White Hare," his magical song based on local shape-shifter legends. (You can read the lyrics here.)

Fairy Tales for the 21st Century

Seer_by_julia_jeffreyThe Guardian newspaper in the UK challenged three writers -- Hilary Mantel, Chimamanda Ngozi Adichie, and Audrey Niffenegger -- to create new fairy tales "fit for the 21st century" for the Children's section of the paper. You can read the results here.

Okay, dear readers, what are your thoughts about this "challenge," and about the stories themselves...?

The art in this post is by the wonderful Julia Jeffrey, who lives in Scotland. You'll find more of her work on her MySpace page and in the Endicott/JoMA gallery.

November 03, 2007

Brothers & Beasts

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I've been enormously excited about Kate Bernheimer's new book, Brothers & Beasts: Men on Fairy Tales," since I read the review galleys some months ago, but I felt it would be cruel to burble on about it here before it was published and you'd be able to lay your hands on a copy. Now, at last, the book is out and I can burble to my heart's content.

Hansel_gretel_by_arthur_rackhamKate (editor of The Fairy Tale Review) created the book as a companion volume to her excellent collection Mirror, Mirror on the Wall: Women Writers Explore Their Favorite Fairy Tales, which contained essays from the likes of Julia Alverez, Margaret Atwood, bell hooks, A.S. Byatt, Kathryn Davis, Chitra Bannerjee Divakaruni, Ursula Le Guin, Fay Weldon, our own Midori, and many others. She started work on the new book, she says, by writing "to authors whose work I felt owed something -- whether overtly or mysteriously -- to fairy tales. It was difficult to pare down the list, but I approached writers who work in a range of forms -- poetry, essays, memoir, novels. I made no discrimination between those writers considered 'literary' and those considered 'popular,' nor between those considered 'experimental' or 'mainstream.' I felt that such categories have little to say to the fairy-tale tradition, a tradition so open and varied, as friendly to abstraction as to precision, as friendly to mice as to men.

"I asked these writers, 'Would you be interested in writing a personal essay about fairy tales for a collection?' That was the invitation. I wanted the invitation to be as open ended as a fairy tale that begins, 'Once upon a time...' and then goes somewhere surprising, unknown."

Margaret_evans_pierce The book contains 24 delicious essays by Steve Almond, Robert Coover, Ilya Kaminsky, Eric Kraft, Norman Lock, Gregory Maguire, Timothy Schaffert, Vija Seshadri, and many others. Richard Siken gives us a gorgeous riff on Hansel & Gretel, woodlands and witches. Jeff Vandermeer discusses the significance of the "third bear" lurking in the forest. Johannes Goransson ponders the relationship between folklore and modern Swiss poetry. Greg Bills considers the deeper meanings to be found in Jack and the Giant.  Neil Gaiman reverts to poety to express his strong connection to the fairy tale tradition. My favorite essays (although it's hard to pick just two in a book so filled with gems) are by Christopher Barzak and David J. Schwartz. Chris deftly uses a Grimms' fairy tale, "The Story of the Youth Who Went Forth to Learn What Fear Was," to evoke the particular flavor of a working class childhood in the Midwest, while David turns The Bremen Town Musicians (of all things!) into a lovely coming-of-age memoir. And as if all this wasn't enough for your money, the book also includes a forward by Maria Tatar and an Afterwards by Jack Zipes, two of the most distinguished fairy tale scholars working today. Kate's own introduction is also a treat, particularly when she discusses the differences between editing Mirror, Mirror and Brothers & Beasts.

Bernheimer_2For many thousands of years, storytellers have drawn upon fairy tales to create fictions relevant to their own times, making use of their symbolic  language to explore issues of gender, class, justice, power, and cultural identity. The twenty-four writers in Brothers & Beasts  make it clear why fairy tales are still important to a wide range of storytellers today. Their essays are both whimsical and scholarly; both archly provocative and deeply moving. This superb collection demonstrates the ways that stories read in childhood continue to shape us as adults and why many writers return to them long after childhood is done.

November 02, 2007

Bluebeard's Wives

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I highly recommend Bluebeard's Wives, a collection of poems inspired by the fairy tale (what a great idea!) from twenty-four women writers. The volume is edited by Julie Boden & Zoe Brigley, and published by The Heaventree Press in Coventry.

Bluebeard_by_charles_robinsonIn the book's Forward, Sophie Hannah writes: "Bluebeard is an oddly incomplete story. Does Bluebeard only decide to kill his new wife because she has disobeyed him, unlocked the door and found the bodies of his previous wives? If she had done as she was told and steered clear of that room, would he have let her live? Does that mean that the reason he killed all his other wives was because they too wouldn't leave his secret room alone? Then why did he kill his first wife? As a writer and reader of psychological crime novels, I like to add this sort of plot detail to the story as it stands. The great thing about powerful, archetypal stories is that they trigger our imaginations, which we then use to invent stories of our own. Each of the poems in this collection tells its own story, and each is a fascinating response to the original inspiration."

Jo Bell, Roz Goddard, Jane Holland, Jo Roberts and other writers contribute terrific poems and poem sequences to this first-rate collection from the British Midlands.

Bluebeard_by_edmund_dulac As for the fairy tale itself, although the story of Bluebeard is derived from older folk tales of demon lovers and devilish bridegrooms, the fairy tale as we know it today is the creation of French writer Charles Perrault, who published it in 1697 in his collection Histoires ou contes du temps passé. Perrault was one of a group of writers who socialized in the literary salons of Paris, collectively creating a vogue for literature inspired by peasant folk tales. These new stories were called contes des feés, from which our modern term "fairy tales" derives — but the contes des feés of the French salons were intended for adult readers, not children. Bluebeard, as a good example, has little to recommend it as a children's story; rather, it's a gruesome cautionary tale about the dangers of marriage (on the one hand) and the perils of greed and curiosity (on the other).

You can read more about the history of the fairy tale (and related folk tales such as Fitcher's Bird and Mr. Fox) in "Bluebeard and the Bloody Chamber" in our Articles section.

I also recommend the following related books: Secrets Beyond the Door: The Story of Bluebeard and His Wives from fairy tale scholar Maria Tatar; and these Bluebeard inspired works of fiction: Fitcher's Brides by Gregory Frost, Blue Diary by Alice Hoffman, Bluebeard by Kurt Vonnegut, The Seven Wives of Bluebeard by Anatole France, and the title story in The Bloody Chamber, adult fairy tales by the late, great Angela Carter.

The art in this post is by Walter Crane, Charles Robinson, and Edmund Dulac.

November 01, 2007

The Days of the Dead

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Although the prospect of traffic between the living and the dead has often been feared, some cultures celebrated those special times when doors to the Underworld stood open. In Egypt, Osiris (god of the Netherworld, death, and resurrection) was drowned in the Nile by his brother Seth on the 17th of Athyr (November); each year on this night dead spirits were permitted to return to their homes, guided by the lamps of living relatives and honored by feasts. In Mexico, a similar tradition was born from a mix of indigenous folk beliefs and medieval Spanish Catholicism, resulting in los Dias de los Muertos (the Days of the Dead) -- a holiday still widely observed across Mexico and the American Southwest today. Celebrations vary from region to region but generally take place over several days (or weeks) at the end of October/beginning of November.

In some areas, October 27th is the day to put out food and water for the unmourned dead -- the spirits of those with no survivors and no homes to return to. On the 28th, food is offered to those who died by accidental or violent means; these gifts are also placed outside the home, to guard against malign spirits. Within the house, an ofrenda or offering is painstakingly assembled on a lavishly decorated altar. Food, drink, clothes, tequila, cigarettes, chocolates and children's toys are set out for departed loved ones, surrounded by candles, flowers, palm leaves, tissue paper banners, and the smoke of copal incense. Golden paths of marigold petals are strewn from the altar to the street (sometimes all the way to the cemetery) to help the confused souls of the dead find their way back home. The souls of unbaptized children ("infants in limbo") return on October 30th; on the 31st all other children return and are fed with the sweets and drinks that were known to be favorites of theirs in life. Adult souls return on November 1st, and theirs is a more elaborate feast, including gifts of new clothes and blankets or baskets to carry offerings away.

According to Fredy Mendez, a young Totonac man from Veracruz, "Between 31 October and 2 November, past generations were careful always to leave the front door open, so that the souls of the deceased could enter. My grandmother was constantly worried, and forever checking that the door had not been shut. Younger people are less concerned, but there is one rule we must obey: while the festival lasts, we treat all living beings with kindness. This includes dogs, cats, even flies or mosquitoes. If you should see a fly on the rim of a cup, don't frighten it away -- it is a dead relative who has returned. The dead come to eat tamales and to drink hot chocolate. What they take is vapor, or steam, from the food. They don't digest it physically: they extract the goodness from what we provide. This is an ancient belief. Each year we receive our relatives with joy. We sit near the altar to keep them company, just as we would if they were alive. At midday on 2 November the dead depart. Those who have been well received go laden with bananas, tamales, mole and good things. Those who have been poorly received go empty handed and grieving to the grave. Some people here have even seen them, and heard their lamentations."




You can read more in "Dusk, Dawn, and the Days of the Dead," an article in the JoMA archives; and you can see a compilation of Dia de los Muertos images from Patzcuaro, Mexico here. Tucson has a vivid "All Souls" celebration, which includes a costume procession, drumming, street altars, and the torching of an urn full of offerings and prayers. The little video above, discussing Day of the Dead holiday customs in Mexico, comes from Hooligan TV. The art at the top of this post comes from the website for Day of the Dead festivities in San Antonio, Texas.

October 16, 2007

"Instructions" and more...

Midori has been valiantly covering this blog solo while I've been down with a truly nasty flu -- and as I'm still shaking the last of a rattling cough out of my lungs, my posting may be a bit sporadic over the next week or so.

This post is to let y'all know that there is now an "Endicott Studio Channel" on YouTube, where we'll be putting videos that we think will be of interest to fans of mythic arts -- such as the Mythic Journeys documentary from the good folks at the Mythic Imaginations Institute, Ben Okri discussing his approach to writing, an A&E biography of J.K. Rowling, a little film on artist Paula Rego, the great June Tabor singing Child Ballad #191: "Hughie Graeme,"  and more. (f you come across other good videos on YouTube, send us a note and let us know.)

The video above is of Neil Gaiman reading his fairy tale poem "Instructions" at Cody's Books in Berkeley, California. Considering his voluminous output of work over the last several years, Ellen Datlow and I will forgive him for forgetting that he actually wrote the poem at our request for our children's fairy tale anthology A Wolf at the Door, where it was first published in 2000. It's my favorite of all his poems, and a real treat to hear him read it.

(While you're on YouTube, if you're a martial arts fan, check out this little video that Howard Gayton made of a tournament/demonstration of our Kung Fu teacher's school, The Dragon Temple, in our village hall in rural Devon.)

September 11, 2007

Joseph Campbell's Reading List

Herosjourney2003Here is the full list of required reading for Joseph Campbell's master course "Introduction to Mythology," which he taught at Sarah Lawrence College from the 1930s to 1970s. It's quite a list, reaching from Herrigel's masterful little book Zen and the Art of Archery to Paul Radin's African Folklore and Sculpture, Nietzsche's The Birth of Tragedy, and many other mythic classics of the 20th century. I can imagine the intellectual explosion such a list of readings might have offered young women at the college in the late '30s. And except for some better, more contemporary translations and editions of these classics, it's a list that still holds up pretty well. (So how many of the titles on it have you read?)

Stop by the very interesting Joseph Campbell Foundation to learn more about Campbell, the international roundtable discussions of Campbell's ideas, and yearly events.

September 04, 2007

Send in the clowns!

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The spirit of the mythic Trickster is alive and well in Knoxville, Tennessee, where clowns are using contrariness and laughter to combat racism.

In an article on the Asheville Indymedia website (via Digsby), Chris Irwin tells a hilarious story of a Nazi/KKK hate rally foiled by the Anti-Racist Action group's clown brigade. As Irwin describes the event:

“White Power!” the Nazi’s shouted. “White flour?” the clowns yelled back, running in circles throwing flour in the air and raising separate letters which spelt “White Flour.”

“White Power!” the Nazi’s angrily shouted once more. “White flowers?” the clowns cheered as they
threw white flowers in the air and danced about merrily.

“White Power!” the Nazi’s tried once again in a doomed and somewhat funny attempt to clarify their message. “Ohhhhhh!” the clowns yelled, “tight shower!” and held a solar shower in the air. They all tried to crowd under to get clean as per the Klan’s directions.

At this point several of the Nazi and Klan members began clutching their hearts as if they were about to have heart attacks....One last time they screamed “White Power!”

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The clown women thought they finally understood what the Klan was trying to say. “Ohhhhh,” the women clowns said. “Now we understand…WIFE POWER!” They lifted the letters up in the air, grabbed the nearest male clowns and lifted them in their arms and ran about merrily chanting “WIFE POWER! WIFE POWER! WIFE POWER!”

(Read the full text of Irwin's wonderful story here.) 

Richard_gormanFools and clowns have played an important role in many ancient traditions around the world. The sacred clowns of the Hopi and other Native American tribes, for example, disrupt and mock solemn ceremonies and chastise tribal wrong–doers by mimicking transgressive behavior. They have license to be rude, crude, lewd, and utterly outrageous -- for in their contrary way they are teachers and healers, using laughter as their medicine. Hinduism and Zen Buddhism have a long tradition of divine craziness, practiced by mad ascetics who lead contrary lives as acts of religious devotion. Ritual clowning appears in the Christian world in Carnaval celebrations and the Feast of Fools, in which all the usual social rules are suspended or turned up–side–down.

For more about Tricksters and clowns around the world, see the Winter 2007 issue of Endicott's Journal of Mythic Arts, which was devoted to the subject. And for more on clowns as political activists, visit the Rebel Clown Army website.

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The Hopi clown kachina, above left, is by Richard Gorman. The Pueblo clown sculptures, above, are by Roxanne Swentzell

August 09, 2007

The Need for Wonder

In this video from the Human Forum Conference in Puerto Rico, Endicott contributor Ari Berk discusses the need for wonder in children's lives. He's introduced (in song!) by Fred Johnson. Part II of Ari's talk is here.

March 24, 2007

Nightmares and Pillow Tales

Paula_regoThe Studio Theatre 2nd Stage in Washington D.C. is currrently presenting The Pillowman by Martin McDonagh, a dark and powerful play in which a writer of fairy tales is interrogated about the gruesome murder of three children. "What The Pillowman is about," wrote Ben Brantley in The New York Times, "is storytelling and the thrilling narrative potential of theater itself. Let's make one thing clear: Mr. McDonagh is not preaching the power of stories to redeem or cleanse or to find a core of solid truth hidden among life's illusions. And he is certainly not exalting the teller of stories as a morally superior being....For what The Pillowman is celebrating is the raw, vital human instinct to invent fantasies, to lie for the sport of it, to bait with red herrings, to play Scheherazade to an audience real or imagined. For Mr. McDonagh, that instinct is as primal and energizing as the appetites for sex and food. Life is short and brutal, but stories are fun. Plus, they have the chance of living forever."

You can read Brantley's full article here. Another thoughtful review of the play can be found on The Mumpsimus blog. More information on McDonagh can be found on the Irish Writers Online website, and the text of The Pillowman is available in a paperback edition from Faber & Faber.

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Nightmares and Pillow Tales: In conjunction with their production of The Pillowman, the company will host an evening of dark fairy tales and ghastly childhood stories. The staged readings will feature stories from The Pillowman, the grisly poetry that inspired Shockheaded Peter, Edward Gorey’s modern classic The Gashlycrumb Tinies, unsanitized early versions of classic tales like Little Red Riding Hood and Sleeping Beauty, and contemporary fairy tale writings by Angela Carter, me, and others. 

Directed by 2ndstage Artistic Director Keith Alan Baker, the stories will be read by Founding Artistic Director Joy Zinoman and faculty from the Studio Theatre Acting Conservatory. The readings will be held this weekend, March 24 and 25, and next weekend, March 31 and April 1, at 5pm. More information can be found here.

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The art above is by Paula Rego (from her Pillowman Triptych), Jennie Harbour (from her Snow Drop illustrations, 1921) and Edward Gory (from The Gashlycrumb Tinies).

February 08, 2007

Fox Maidens

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Meg Fox's comment on fox fairies (in the Comments section of Monday's post) made me think of Heinz Insu Fenkl's excellent articles "Fox Wives and Other Dangerous Women" and "A Fox Woman Tale of Korea" in the Endicott archives.

KiniyoshiThe fox women in Korean folk tales, writes Heinz, "are generally seductive creatures that entice unwary scholars and travelers with the lure of their sexuality and the illusion of their beauty and riches. They drain the men of their yang -- their masculine force -- and leave them dissipated or dead (much in the same way La Belle Dame Sans Merci in Keats's poem leaves her parade of hapless male victims).

"Korean fox lore, which comes from China (from sources probably originating in India and overlapping with Sumerian lamia lore) is actually quite simple compared to the complex body of fox culture that evolved in Japan. The Japanese fox, or kitsune, probably due to its resonance with the indigenous Shinto religion, is remarkably sophisticated. T_windling Whereas the arcane aspects of fox lore are only known to specialists in other East Asian countries, the Japanese kitsune lore is more commonly accessible. Tabloid media in Tokyo recently identified the negative influence of kitsune possession among members of the Aum Shinregyo (the cult responsible for the sarin attacks in the Tokyo subway). Popular media often report stories of young women possessed by demonic kitsune, and once in a while, in the more rural areas, one will run across positive reports of the kitsune associated with the rice god, Inari."

Fox_maidenThere are a number of good books that draw upon Asian fox women legends. Foremost among them is Kij Johnson's exquisite novel The Fox Woman, and Neil Gaiman's collaboration with Japanese artist Yoshitaka Amano, The Dream Hunters. I also highly recommend Larissa Lai's fascinating novel When Fox Is a Thousand, and Ellen Steiber's heartbreaking novella "The Fox Wife," published in the anthology Ruby Slippers, Golden Tears. There's also a lovely children's picture book version of the legend: The Fox Maiden, with text by Elsa Marston and illustrations by Tatsuro Kiuchi. Other books inspired by fox myths are listed here.

The art above is Ohara Koson's "Fox in the Reeds," Kuniyoshi's "Fox Wife Departing," my "Desert Fox Wife," and Tatsuro Kiuchi's cover for The Fox Maiden.

February 03, 2007

The Fairytale Tarot

Fairy4_sw260The Fairytale Tarot draws inspiration from a wide range of world fairy tales, both familiar and lesser-know. The lovely illustrations are by Irena Triskova and Alex Ukolov, contemporary artists from the Czech Republic and Russia whose work is deeply steeped in the "Golden Age" illustrations of a hundred years past. The deck comes with an explanatory book by Rachel Pollack, Tarot scholar and author of the fairy tale novel Godmother Night (among other works). "Using some of the world's most fascinating fairy tales with the symbolic, yet story-like pictures of the Tarot," she writes, "these images illuminate both the tales and the cards. But they do something more; they allow us to create new stories, new meanings, and that is certainly special."

Alexhierophantsmall_1 The Fairytale Tarot was created by Karen and Alex of the Baba Studio in Prague, publishers of the Magic Realist Press. Their previous publications have included The Tarot of Prague, The Victorian Romantic Tarot, and other Tarot decks and art books. Alex is from the Crimea, and trained in art and design in the Ukraine. Karen is Irish, but lived in London for many years; she has an MA in Art from the Royal College of Art and has taught at several leading art colleges in London. "All our work," they say, "falls into the broad areas of magic realism, myth, magic and symbolism. We believe that imagination and a sense of enchantment can transform and enhance life -- and that all magic is in the mind's eye, if we choose to see it."

For the Fairytale Tarot, they chose not to tone down the darker elements of the stories. "The stories work best," notes Rachel Pollack, "when we take them as directly as we can from the oral tradition, for then they give us access to a kind of raw artistry that touches the psyche at deep levels." 

Click here for more information on the Fairytale Tarot, and here for the Baba Studio's blog. Click here for the Baba Studio's page on the magical city of Prague, and here for another article ("Alchemy and Puppetry in Prague") from the Endicott archives.

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January 31, 2007

Healing Tales and The Snow Queen

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Back in November, we profiled the work of multi-media artist Meg Fox, looking at the ways she and other writers and artists use fairy tale themes to discuss the difficult subject of child abuse. Now Meg has written to say that she's started a new blog specifically for this kind of work: Healing Through Visual, Literary and Performance Arts. The art above is one of the new pieces featured on the blog, based on The Snow Queen by Hans Christian Andersen -- a writer we were speaking of just yesterday.

Edmund_dulac_3In an excellent essay titled "In Trance of Self," fiction writer and playwright Deborah Eisenberg discusses the young protagonists of The Snow Queen, looking at the ways that both Gerda and Kay claim our sympathy: "Who among us, like Gerda, has not been exiled from the familiar comforts of one's world by the departure or defection of a beloved?...Who has not been forced to accede to a longing that nothing but its object can allay? On the other hand, who has not experienced some measure or some element of Kay's despair? Who has not, at one time or another, been paralyzed and estranged as his appetite and affection for life leaches away....Who has not, at least briefly, retreated into a shining hermetic fortress from which the rest of the world appears frozen and colorless?...And who, withholding sympathy from his unworthy self, has not been ennobled by the sympathy of a loving friend?" (To read the full essay, seek out Mirror, Mirror on the Wall: Women Writers Explore Their Favorite Fairy Tales, edited by Kate Bernheimer.)

In light of yesterday's discussion in the Comments section of the Hans Christian Andersen post, Eisenberg's description of Kay's experience caused me to think about Kay's story in a new way: as a metaphor for depression. I'd always viewed Kay as simply cut off from love, like a lover who has turned suddenly cold when his affection has been transferred to someone else. (Sandra Gilbert's Snow Queen poem cycle is a wonderful exploration of this interpretation.) And yet, another reading of the tale is that young Kay is cut off from life itself, from all feeling and all pleasure...which evokes the painful experience described by sufferers of clinical depression.

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This is what I love about fairy tales -- that there are so many different ways to read them, some of which their various tellers and authors intended, and some of which perhaps they did not. They also contain much food for thought concerning the process of healing and transformation -- not only for those who are putting their lives back together after traumatic childhoods, but for everyone who has been scarred by life in one way or another.

Milo_winter_snow_queen Here's another essay in the Endicott archives on the healing power of myth and mythic fiction: The Dark of the Woods; plus I'd like to recommend Midori's powerful Armless Maiden article once again.

I'd also like to list some memorable works of contemporary fiction inspired by The Snow Queen fairy tale -- starting with"The Snow Queen" by Patricia McKillip, an absolutely gorgeous short story published in the Snow White, Blood Red anthology, and Kelly Link's superb "Travels With the Snow Queen," published in Stranger Things Happen. Other good short stories: "The Tale of the Brother" by Emma Donoghue (Kissing the Witch), "In the Witch's Garden" by Naomi Kritzer (Realms of Fantasy magazine, October 2002), "The Lady in the Ice Garden" by Kara Dalkey (Firebirds), "Ice" by Francesca Lia Block (The Rose and the Beast), and "With the Snow Queen" by Joanne Greenberg (With the Snow Queen). (A.S. Byatt's fabulous story "Cold," in her collection Elementals: Stories of Fire and Ice, also plays with a bit of Snow Queen imagery, along with imagery from other fairy tales.)

W_heath_robibsonThe afore-mentioned Snow Queen cycle of poems by Sandra M. Gilbert can be found in her collection Blood Pressure, and Adrienne Rich's poem "The Snow Queen" can be found in The Fact of a Doorframe. The Snow Queen by Eileen Kernaghan is a gentle YA novel that brings elements of Scandinavian shamanism to Andersen's tale. The Ice Queen by Alice Hoffman is a magical contemporary novel that draws imagery from The Snow Queen, among other fairy tales. And, of course, there's The Snow Queen by Joan Vinge, a classic work of science fiction that draws on themes from the fairy tale.

You can read an annotated copy of Andersen's original tale over on the Surlalune Fairy Tale Pages, and also see Snow Queen illustrations from the 19th & early-20th centuries. The art in this post is by Meg Fox, Edmund Dulac, Arthur Rackham, Milo Winter, and W. Heath Robinson.

January 12, 2007

Gypsy Stories Old and New

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It is estimated that over thirty thousand Gypsies (or Romani, or Roma, as some prefer to be known) live in diaspora throughout the world, loosely linked by language and customs, by music, dance and story. Despite the deep suspicion with which the Gypsies have too often been regarded by non-Gypsy society, their contributions to the arts of music, dance and storytelling have long been widely acknowledged. The lore of the Gypsies, entwined with the folk tales and songs of each country in which they have settled, forms one of the most vibrant and magical oral traditions extant today. According to a Cale Gypsy story (related by Serafina of Gaudix), at the beginning of the world "God made the 'Busno' [a non-Gypsy] out of slime, then he made a woman out of the Busno's spare rib. Later on he found that the world was so dull with these two Busnos and their children that he said to himself, 'I must liven things up.' So one night, when the man was sleeping in his cave, God goes and takes a bit of his jawbone and in a twinkling of an eye he makes out of it a stiff and sturdy 'Calorro' [Gypsy], alive and kicking."

London_gyspy_1911In England, Scotland, Wales, and Ireland, folk tale collectors found a treasure trove of old stories and folk ballads in the oral tradition of the Traveling People. Folksinger and scholar Ewan MacColl, for example, took a great interest in Gypsy lore in the middle of the 20th century, traveling around the British Isles with a tape recorder and a notebook, preserving stories and songs that were in danger of being lost forever as the Gypsy way of life was threatened by the forces of modernization.

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Duncan Williamson, born in 1928, was the seventh child in a family of sixteen Scottish Traveler children. For many years, he has been one of the foremost tellers of barrie mooskins ("good stories" in the Anglo-Romani dialect). His wonderful Gypsy tales, with their distinctly Celtic flavor, have been collected in A Thorn in the King's Foot; The Broonie, Silkies and Fairies; and Fireside Tales of the Traveller Children. "On cold winter nights," he writes of his own childhood, "when early darkness enclosed the old travelers' camps, a father would turn round and take his children beside him. 'Listen children, sit down and be quiet -- I'll tell you a story.' My father knew he was going to tell us something that was going to stand us through our entire life. Probably he had no tobacco for a smoke; probably we didn't have a bite of meat to eat, we had no supper. But we sat there listening to our father telling us a story and we were full. He was teaching us to be able to understand what was in store for us in the future, telling us how to live in the world as natural human beings -- not to be greedy, not to be foolish, daft, or selfish -- by his stories."

Roads_of_roma_1But what about Gypsy literature today? Colum McCann addresses this subject in his article for Salon.com, "Destination: Gypsy Europe." (If you're not a Salon subscriber, you can get a day pass to the site by watching a short ad.) "Given a rich language, and narrative abilities so easily apparent in song," McCann writes, "it would seem that a literature by the Gypsies, or even one of the Gypsies, should be more prominent and varied than it is. But the Romani culture is not exactly an easy one to penetrate. Scholarly works are still thin on the ground. Great novels are few and far between. Poems are sporadic and untranslated. And there is another kind of silence too -- the Gypsy as cliché, clicking her fingers, throwing back her hair, jangling her bracelets, fingering your wallet, breaking the hearts of fearless men." Despite these caveats, McCann goes on to recommend a number of good books by international Gypsy writers such as Ilona Lakova, Bronislawa Wajs, Louise Doughty, and Margriet de Moor -- and the excellent PEN anthology The Roads of the Roma, edited by Ian Hancock, Siobhan Dowd, and Rajko Djuric.  (The book is part of PEN's "Threatened Literature" series.)

Bury_me_standing For more on Gypsy folklore and history, try "The Road That Has No End: Tales of the Traveling People," an article in the Endicott archives. Further information can be found on the Gypsy Lore Society, Rroma.org, Romany and Traveler Family History Society, The Scottish Gypsies, and Flamenco Gypsy websites. Three not-to-miss books are Bury Me Standing: The Gypsies and their Journey by Isabel Fonseca,