The Oxford Companion to Fairy Tales

555 W I Z A R D O F O Z , T H E enter with selflessness. In short, Oz is what a played the Scarecrow and also directed. Owing rather little to Baum's plot, it starts in a Rurita- disenchanted America is not. nian kind of Oz where Prime Minister Kruel, having secretly deposited the baby Princess Baum would probably be amused by all D o r o t h y of O z on a Kansas farm 18 years pre­ viously, schemes to seize the throne for him­ these interpretations, for he stressed that he self. Agents sent to Kansas to get rid of the evidence that would support her royal claim wrote only for children, at their behest. T o d a y , are thwarted by the Scarecrow, who is devoted to Dorothy. When a cyclone transports his Utopian tale continues to inspire with its Dorothy and the Scarecrow to Oz, the Tin Woodman joins the party, Dorothy meets hopeful message of individual growth and soci­ Prince Kynde, and the Scarecrow has an en­ counter with a den of angry lions. B y means of al reform. In fact, there are more than 100 se­ a series of comic stunts, the Scarecrow con­ founds all Kruel's machinations, then gener­ quels, parodies, and pastiches of Oz, with ously renounces his love for Dorothy, who marries Prince Kynde and assumes her rightful notable reinventions from black Broadway mu­ place on the throne of Oz. sicals (The Wiç, 1975) to parallel w o r l d s (A T h e M G M film follows B a u m ' s plotline more closely than Semon had done, but Barnstormer in 0{, 1982) to metaphors about changes it significantly in tone. Baum, rejecting the 'blood-curdling incident' and 'fearsome A i d s (Was, 1992). Indeed, the recent auction o f moral' associated particularly with the *Grimms' stories, wrote that his intention was Dorothy's ruby slippers for $165,000 attests to to leave out the 'heartaches and nightmares' of fairy tales, while retaining their 'wonderment Oz's continuing mythic relation to the Ameri­ and joy'. The M G M version could have stuck with Baum and merely delivered singable can collective unconscious. MLE songs, joyful jokes, merry Munchkins, and Technicolor choreography, but it does not do Harmetz, Aljean, The Making of'The Wizard of that. If it had, it would probably be no more remembered today than S e m o n ' s film is, e v e n Oz (1977). though the film's durability has m u c h to d o with the outstanding musical score by Harold Hearn, Michael Patrick, The Annotated Wiiard of Arlen and E . Y . ' Y i p ' Harburg. Instead it gives full, fearsome force to the Wicked Witch of the 0{ (1973)- West, and allows her callous minions, the Winged Monkeys, none of the extenuation that Littlefield, Henry, 'The Wvprdof Op Parable on the book offers. In this w a y it is closer to G r i m m and to * D i s n e y ' s *Snow White than it is Populism', in Hennig Cohen (ed.), American to B a u m . In the U K both Snow White and The Wiiard of 0% w e r e g i v e n an ' A ' certificate at the Culture (1968). time o f first release, the force o f w h i c h w a s that children on their own could not be admitted to Nathanson, Paul, Over the Rainbow: The Wizard a cinema w h e n either o f these films w a s being screened. of Oias a Secular Myth of America (1991). The Witch's nightmare-causing powers are Zipes, Jack, 'Oz as American Myth', in Fairy further strengthened by giving her a counter­ part—Miss Gulch—in Kansas. This idea of Tale as Myth/Myth as Fairy Tale (1994). validating a dream or fantasy by having some of the actors play two characters, one in each WIZARD OF Oz, T H E (film: U S A , 1939), the most w o r l d , is c o m m o n to a range o f films (e.g. The celebrated fairy-tale film e v e r made, and the Five Thousand Fingers of Doctor 7 ) , the con­ most memorable version of the story. Initially vention being that, when the child wakes up, a box-office failure, it has over the decades he or she is holding something tangible from been given repeated, well-received television the dream world which proves that it is as real screenings and thereby achieved iconic status. In public discussion it is taken for granted that absolutely everyone knows Dorothy (played by Judy Garland), the Scarecrow, the Tin Woodman, and the Cowardly Lion. Fragments of the film's d i a l o g u e — s u c h as ' T o t o , I h a v e a feeling that we're not in Kansas anymore', 'Are you a good witch or a bad witch?', 'Follow the yellow brick road', 'Leaving so soon, my pretty?' and 'I'll get you, and your little dog too!'—have become part of conversational currency. O n the internet the film, plus L . Frank *Baum's original 1900 book, have to­ gether spawned over 30 different websites dedicated to Oz clubs, quizzes, festivals, and facsimile Dorothy dresses. Before this M G M adaptation, there were various short silent O z films, some produced by Baum himself. The major silent version, made in the 1920s ( U S A , 1925), is known today mainly for the fact that Oliver Hardy, before he teamed up with Stan Laurel, took the part of the T i n Woodman, but in its day it was con­ ceived and marketed as a vehicle for the acro­ batic blank-faced clown Larry Semon, who

WIZARD OF O Z , THE 556 as home. In addition, a film-child returning Dorothy and Glinda, before the magic slippers from another world usually has some newly ac­ take Dorothy back home to Harlem. quired self-confidence or skill which makes it possible to solve the problem which first cre­ A m o n g other fantasies that testify to the ated the need for escape. In The Wiiard of Oi position o f The Wiçard of 0 { as a standard ref­ neither of these things happens. Dorothy does erence point is Zardoi ( U K , 1973). Set in 2293, not produce the ruby slippers to p r o v e — e v e n it depicts the masses as worshipping a giant fly­ to herself—that Oz really is 'a place, not a ing godhead named Zardoz. Gradually Zed, dream'; and, more disturbingly for a perceptive one of his Exterminators (reminiscent of the child in an audience, she does not bring with Winged Monkeys), realizes that the god whom her from Oz anything that will help her solve he serves does not really exist at all, but is the problem of Miss Gulch. Whether or not merely a man-made invention named by a this was the makers' intention, part of the film's j o k e r w h o w a s also a cinéphile. T h e film thus 'heartache' comes from the fact that, though assumes that adult audiences in the 1970s were the Wicked Witch has been disposed of, Miss able to unravel the meanings packed into the Gulch is still alive; and the legal warrant con­ name Zardoz, and at the same time prophesies demning Toto to death, which was what that w h e n The Wiçard of is o v e r 350 years caused Dorothy to wish to fly away over the old, and industrial society has collapsed, there rainbow, is still in force when she comes back. will still be some w h o use it as mythology. B y contrast, Rainbow ( U K / C a n a d a , 1995), set in The film's status in the popular imagination 1990s N e w Jersey, invokes Dorothy and Toto has led to a sequel, Return to C \\ , numerous rather than the Wizard. With the help of a television parodies, and a parallel black version computer, four children and a d o g find the end set in 1970s N e w Y o r k . T h i s w a s The Wii of a rainbow and are carried along b y it till it ( U S A , 1978), which derived from a successful drops them in Kansas. One has taken nuggets B r o a d w a y musical (see The Wiiard of 0 { , stage of gold from the rainbow, thereby upsetting its versions). Though the credits acknowledge balance; as a result the temperature rises dras­ Baum, the storyline is actually based on the tically, colour fades from everything, society M G M film, and indeed presumes audience begins to break down. With all plants about to knowledge of it. F o r nearly everything in it be destroyed by the disappearance of green, the (except the death warrant on T o t o ' s h e a d ) , The children manage to restore gold to the rain­ Wii finds a N e w Y o r k equivalent. D o r o t h y , an bow. T h e moral the film illustrates is that ecol­ unadventurous 24-year-old Harlem school­ ogy begins at home: like Dorothy, we don't teacher, chases Toto when he runs off in the need to look further than our own back yard. snow, and hits a tornado which blows them through an electrical sign advertising a product TAS called 'Oz'. Upon landing, Dorothy kills witch Harmetz, Aljean, The Making of the Wizard of Evermean, who had turned the Munchkins into Oi (1978). graffiti; on her death they gratefully unpeel Rushdie, Salman, The Wi[ard of 0 { (1992). themselves from walls. En route for the E m e r ­ ald C i t y D o r o t h y finds a brainless scarecrow WIZARD OF O Z , THE, stage versions. A stage trying to protect a small patch of sunflowers against derisive crows; a heartless tinman bur­ show, adapted by L . Frank *Baum from his ied under fairground junk at C o n e y Island; and a cowardly lion lurking inside the stone monu­ own story for children, was premiered at the ments of the N e w Y o r k Public Library. On Poppy Street, a neon-lit alley populated by co­ Majestic Theater, N e w Y o r k , in 1903 and ran caine pushers, Dorothy and the lion succumb to the drugged atmosphere, but are revived by for 293 performances. Much o f the musical the tinman's tears of grief. A t other points in the story the Wicked Witch of the West, Evil- score was by A . Baldwin *Sloane and Paul lene, is presented as a sweat shop owner; her Flying Monkeys as a squad of motorcyclists; Tietjens, with lyrics by L. Frank Baum. Never­ and Oz himself as a failed politician and a com­ plete fraud. Climactically, Dorothy's three theless, a collection of other composers and friends are comforted by being told that they have already displayed plenty of brains, heart, lyricists are known to have collaborated on the and courage: 'Believe in Yourself, sing work. O n e more version of B a u m ' s story, The Wii, appeared in 1975, opening at N e w Y o r k ' s Majestic Theater. This was an all-black pro­ duction with a book by William F. Brown up­ dated to suit contemporary audiences. With a rock score b y Charlie Smalls, it was extremely successful, attaining a run of 1,672 perform­ ances and a film version in 1978. The Wii reached London in 1984. TH

557 W Y N N E - J O N E S , T I M WOLF, FRIEDRICH (pseudonym of JOHANNES Ul­ words of wit. A s the title-page suggests, the drawings have been done 'Grotesquesly' by cus, 1817—55), German scholar, writer, and Alice B . Woodward; grotesque in the comic sense, yet lyrical and animated and characteris­ publisher. Influenced by Jacob and Wilhelm tically Art Nouveau in the curving free lines and solid black areas relieved by white. SS \"Grimm's theories of the folk tale's authenti­ city, he collected traditional oral tales and pub­ lished them with a scholarly commentary. His three volumes of folk tales are aimed at an adult readership: Niederlàndische Sagen (Dutch Legends, 1843), Deutsche Màrchen und Sagen WREDE, PATRICIA C . (1953- ), American writer (German Popular Tales and Legends, 1845), of fantasy novels for children and adults. Deutsche Hausmàrchen (German Household Wrede brings European folklore motifs (en­ Tales, 1851). KS chanted harps, magical rings, dragons, elves, etc.) into the six b o o k s o f The Lyra Series WOLFF, ALBERT (1884-1970), prominent ( 1 9 8 2 - ) , the four b o o k s o f The Enchanted For­ French conductor who, at various stages in his est Series (1985— ) ; and short stories such as long career, was associated with the Opéra- 'Cruel Sisters' (1996), based on Scottish bal­ Comique, eventually serving as its director- ladry. Snow White and Rose Red (1989) is a general in 1945—6. Study at the Paris C o n s e r ­ gentle, romantic retelling of the tale set in vatoire was followed by work in cabaret, later Elizabethan England, concerning the plight of combined with the post of organist at the two sisters in a woodland cottage at the edge of church of St Thomas Aquinas. In his mid-20s Faerie. TW he joined the staff of the Opéra-Comique, making his conducting debut in 1911. From 1919 to 1920 he conducted the French reper­ WYNNE-JONES, TIM (1948- ), Canadian short- toire at N e w Y o r k ' s Metropolitan Opera story writer. A multi-talented creator, Wynne- where, in 1919, he premiered his own opera Jones has crafted radio plays, the lyrics for a L'Oiseau bleu (The *Blue Bird) based on M a u r ­ science-fiction musical, the book and libretto ice \"Maeterlinck's play. TH for an opera, and popular songs. He made his children's book debut as a picture-book writer, when he began chronicling the adventures of WOODWARD, ALICE B. (1862-1951), English il­ Zoom, a cat who followed his seafaring uncle. lustrator whose medium was pen and ink. It is quite likely that she was influenced by Charles His short stories, including those published in \"Robinson, a decorative book illustrator noted for his personal application of Art Nouveau The Book of Changes and Some of the Kinder and particularly for his black-and-white illus­ trations o f R o b e r t L o u i s \"Stevenson's A Child's Planets, h a v e w o n numerous awards; they are Garden of Verse (1896). B o t h w e r e illustrators of the Dent Banbury Cross series. Wood­ distinguished by plotlines pared to essentials, w a r d ' s black-and-white drawings for Banbury Cross and Other Nursery Rhymes (1895), Edith emotional truth, and quirky, contemporary, Hall's Adventures in Toy land (1897), and E v e ­ lyn \"Sharp's Round the World to Nymphland characters. Although reflecting everyday prob­ (1902) are reflective of the Art Nouveau style of the time. The cover illustration for Sheila E . lems such as bullies, hockey-playing, and mak­ Braine's Princess of Hearts also bears A r t N o u ­ veau motifs, flowers, and embellishments, and, ing money, the stories often include fantastical as was characteristic of publishers' bindings after 1832, the design incorporated gold and elements, corkscrew logic, and an off-centre colour. In 1895 W o o d w a r d w a s included among the best of black-and-white artists of point of view. His version o f ' T h e Goose Girl', the day to illustrate a series of articles in the L o n d o n Daily Chronicle intended to support published in D a t l o w and W i n d l i n g ' s Black the progressive cause. Illustratively the series was a success; not so politically. T w o years Thorn, White Rose, focuses on the story from later, Woodward illustrated Walter Jerrold's Bon-Mots of the Nineteenth Century, g o o d the viewpoint of the prince. He finds himself fatally drawn to the voluptuous servant girl, the false bride and impostor, rather than the true princess. Departing from the \"Grimms' version, in which the false bride forces the princess to switch places, Wynne-Jones shows the two girls changing places for a lark, the princess herself being quite young and ill-pre­ pared, sexually, to become anyone's wife. A s the tale comes to its grisly end, for this particu­ lar prince life with a true princess proves to be not such a happily-ever-after reality. AS Ellis, Sarah, 'News from the North', Horn Book Magazine, 71 (1995).

YEATS, WILLIAM BUTLER (1865—1939), Irish is an element of that purpose that Yeats's the­ poet, dramatist, prose writer and anthologist. matic arrangement and classification of his ma­ He was born in Dublin and spent part of his terial is so methodical. The basic division is childhood and adolescence there, the remain­ into those stories which feature the 'trooping' der being divided between London and the fairies and stories which feature those de­ west of Ireland, particularly County Sligo, scribed as 'solitary'. T h e 'troopers' are, in the where his mother's family, the Pollexfens, main, benevolent, while those in the latter lived. It was in Sligo, a part of the country es­ group are more inclined to be the agents of pecially rich in local legend and folklore, that mischief and harm: this category includes the he was first attracted to the world of Irish trad­ leprechaun, the pooka, and the witch. Many of itional story. This interest, while it remained the most striking of these stories, such as 'The with him throughout his life and writings, was Priest's Supper', 'The Legend of Knockgraf- to be of major importance in his earliest work, ton', 'Master and Man', and 'The Giant's w h i c h began to be published from 1885 on­ Stairs', originated in Thomas Crofton b r o k ­ wards. The success of this early work, added to er's seminal three-volume collection Fairy Le­ his involvement in the foundation of the Abbey gends and Traditions of the South of Ireland Theatre, soon ensured for Yeats a role as prin­ (1825-8), the source most often used by Yeats. cipal figure of the Irish literary revival. This 'The Confessions of T o m Bourke', another movement had as one of its main goals the res­ story originating in Croker, appeared in both toration of Ireland's cultural heritage, a restor­ Y e a t s ' s Fairy and Folk Tales and in his Repre­ ation which involved a rediscovery of its sentative Irish Tales (1891), as did an a n o n y m ­ ancient Gaelic sagas and a recognition of the ous story entitled 'The Jackdaw'. (Otherwise, strength and colour of its folklore. While in Representative Irish Tales is an anthology, pub­ many of its manifestations this vibrant indigen­ lished originally in two volumes of 19th-cen­ ous folklore exerted a powerful influence on tury Irish fiction, by authors such as Carleton, Yeats, he was initially drawn most of all to its Lover, and Griffin.) fairy-world dimension. Irish Fairy Tales, Y e a t s ' s second compilation Numerous references to this other-world of traditional material, appeared in 1892. A domain are to be found in the poems from his prefatory note expressed the hope that this vol­ first collections, starting with The Wanderings ume and its Fairy and Folk Tales predecessor of Oisin and other Poems (1889). O n e o f the would comprise 'a fairly representative collec­ 'other poems' in this collection, 'The Stolen tion of Irish folk tales', a phrase which, in Child', set the note of wistful longing which Yeats's interpretation, stood in both books for came to be associated with much of his writing an eclectic mixture of content, even managing on fairy themes; such work, in his own phrase, to encompass poems by himself and others constituted the cry of the heart against neces­ which dealt with fairy lore. In Irish Fairy Tales sity. It was, however, in his role as anthologist the 14 stories are grouped into four sections, that Yeats brought his fascination with the which feature land and water fairies, evil Irish supernatural to a wider audience. spirits, cats, kings, and warriors. Croker is drawn on for three of these—'The Young His first compilation, Fairy and Folk Tales of Piper', 'Teigue of the Lee', and 'The Lady of the Irish Peasantry (1888) comprises some 60 Gollerus'—but perhaps the most impressive is items, drawn from a wide diversity of oral and 'The Man who Never Knew Fear', a previous­ written sources, frequently re-tailored to suit ly unpublished story specially translated for Yeats's own purpose in providing evidence of Yeats by Douglas Hyde from Irish. The intro­ his country's rich imaginative store of story. It ductions and notes which Yeats provided for both of these volumes are important not only for giving insights into the methodology and rationale behind Yeats's selections, but also for evincing his sense of commitment to the task in hand and his gratitude to the individual story­ tellers at whose feet he had sat and listened. These storytellers' unquestioning belief in the existence of the creatures who populated their stories led Yeats to share a vision of a land where, contrary to what might have happened elsewhere, the fairies were still extant.

559 Y O L E N , J A N E It is very much the same attitude which ing to a Chinatown bilingual school shaped the underpins Y e a t s ' s The Celtic Twilight, first cultural open-mindedness and the attentiveness published in 1893 and reissued and enlarged in to outsiders which characterize his works. 1902. Here he assembled anecdotes and stories Yep's recurring theme is acculturation, and which he himself had collected, principally in dragons are the magic or creative embodiment County Galway and often with the help of of the fear and wonder that such a challenge Lady Augusta Gregory, interspersing the nar­ entails. ratives with his own ruminations and commen­ W h i l e Sweetwater (1973) takes u p the e n ­ taries. T h e tone may be light and counter with the alien in a science-fiction con­ conversational, but it does not detract from the text, later w o r k s (Dragon of the Lost Sea, 1982, eloquence of many of the tales or from their Dragon Steel, 1985, and Dragon Cauldron, 1991) universal application. One of the most endur­ recount Princess Shimmer's quest for a lost ing of these achievements is the story 'Dreams home by mixing fantasy and Chinese myth­ that Have N o Moral', described b y Yeats him­ o l o g y . T h e a w a r d - w i n n i n g Dragonwings self as 'one of those rambling moralless tales, (1976) approaches the questions of Chinese which are the delight of the poor and the hard- American identity more specifically and also driven, wherever life is left in its natural sim­ represents the first o f Y e p ' s efforts to write a plicity'. The most personal of the anecdotes is 'child's version of history', a more intimate and to be found in 'Regina, Regina Pigmeorum, concrete history, as he states in the essay Veni', where Yeats recounts a meeting on 'a far 'Green Chord'. Later historical novels include western sandy shore' with a fairy troop, pre­ Child of the Owl (1977), set in the C h i n a t o w n o f sided over by a queen whose departing words Y e p ' s youth; The Serpent's Children (1984), r e ­ are a recommendation to the humans not to counting a rebellion in 19th-century China; 'seek to know too much about us'. (The inci­ and The Star Fisher (1991), w h i c h retells his dent which gave rise to this retelling was first mother's childhood experiences in 1927 West described in a letter written in October 1892 to V i r g i n i a . Directed specifically at teens, Ameri­ Richard Le Gallienne.) RD can Dragons: Twenty-Five Asian American Deane, Seamus, Strange Country (1997). Voices (1995) extends Y e p ' s pursuit o f a histor­ Foster, John Wilson, Fictions of the Irish Literary ical tradition to literature; the collection in­ Revival (1987). cludes poems, short stories, and essays about Kelly, John and Domville, Eric (eds.), The diverse Asian American expressions of the Collected Letters of IV. B. Yeats, i. 1865—1895 longing for home. (1986). Y e p ' s first powerful retelling of folk tales, Kiberd, Declan, Inventing Ireland (1995). Thuente, Mary Helen, W. B. Yeats and Irish The Rainbow People (1989), gathers 20 stories Folklore (1980). told b y Chinese American immigrants in the 1930s. While in most cases the setting is mythic 'YELLOW DWARF, T H E ' , a tale in d'*Aulnoy's China, the tales help us envision the 'strategies Contes nouveaux ou les fées à la mode (New for living' of the men in Chinatown. A second Tales, or Fairies in Fashion, 1698) that incorp­ collection o f 17 tales, Tongues of Jade, followed orates many folkloric motifs, including a prin­ in 1991. A m o n g his other retold folk tales are cess indifferent to love, a pact with a witty and imaginative picture books for young­ demon-like figure, a quest to free a captive er children such as The Man who Tricked a lover, as well as a (relatively rare) tragic end­ Ghost (1993), Butterfly Boy (1993), The Shell ing. Although aspects of this tale resemble an Woman and the King: A Chinese Folktale episode o f *Spenser's Faerie Queene (1590—6), (1993), and Tiger Woman (1996). B y p r i v i l e g ­ d'Aulnoy seems to have created the basic plot ing trickster stories, Yep breaks away from the on herown, and not from oral or literary trad­ stereotype of Chinese passivity. CB itions. This story was particularly popular in 19th-century England, where it was the subject YOLEN, JANE (1939- ) , American poet, play­ wright, and writer and editor of children's of chapbooks and saw numerous performances books, fantasy, and science fiction, who is one of the most prolific and experimental writers of as a pantomime. LCS fairy tales on the contemporary scene. After graduating from Smith College in i960 and YEP, LAURENCE (1948- ), versatile Asian working for different publishing houses, Yolen American author for young adults and chil­ turned to full-time professional writing in 1965. dren. Yep's experience as a third-generation Her first book was a delightful comical fairy Chinese American growing up in a Black neighbourhood of San Francisco and commut­

YOLEN, JANE 560 tale for children, The Witch who Wasn't (1964), the youngest daughter of a family of fairies and and since this first publication, she has g o n e on to publish well o v e r 250 titles, including such produces a philosophical critique of decadent important non-fiction b o o k s as Touch Magic- Fantasy, Faerie, and Folktale in the Literature of monarchy in the name of democracy. Though Childhood (1981). She has also produced film scripts and cassettes based on her work. not a writer with a strong ideological bent, One of Yolen's main goals has been to re­ Yolen has been influenced by the feminist capture the flavour and spirit o f the oral trad­ ition in her literary fairy tales. She writes with movement, and one of her major achievements grace and painstaking care to create tales that evoke the atmosphere of long ago and other has been to subvert the male discourse that has worlds, and she prefers to use metaphors and symbols in unusual combinations that produce dominated the fairy tale as genre so that the new associations. Although she has adapted numerous folk tales and classical fairy tales, her repressed concerns of women are addressed, best work can be seen in the fairy tales she her­ self has created in such b o o k s as The Girl who and the predictable happy endings that signify Loved the Wind (1972), The Girl who Cried Flowers and Other Tales (1976), The Moon Rib­ male hegemony and closure are exploded or bon and Other Tales (1976), The Lady and the Merman (1977), The Hundredth Dove and Other placed into question. Thus, in 'The White Seal Tales (1977), Dream Weaver (1979), Sleeping Ugly (1981), Tales of Wonder (1983), Dragon- Maid' and 'The Lady and the Merman', she has field and Other Stories (1985), The Faery Flag (1989), The Dragon's Boy (1990), The Girl in her female protagonists seek refuge in their the Golden Bower (1995), and Child of Faerie (1996). origins, the sea, which represents for Yolen the Given her comprehensive knowledge of folk essence of restlessness, change, tenderness, and and fairy tales throughout the world—she has also edited an important collection of tales en­ humanity. titled Favorite Folktales from Around the World (1986)—Yolen has subtly altered many popu­ T w o o f her fantasy b o o k s , The Devil's Arith­ lar tales to undermine and provoke audience expectations in tales that appeal both to adults metic (1998) and Briar Rose (1992), have the and young readers. Such stories as 'Moon Rib­ bon', 'Brother Hart', 'The Thirteenth Fey', Holocaust as their theme. The latter makes use 'Happy Dens, or A D a y in the Old Wolves Home' and 'The Undine' contain startling of 'Sleeping Beauty' as the granddaughter of a metaphors and unusual plots that place trad­ itional tales and their meaning in question. For Holocaust victim tries to make sense out of her instance, in *'Undine' Yolen emphasizes the notion of male betrayal and female autonomy grandmother's strange retelling of 'Sleeping in an implicit critique of Hans Christian *Andersen's 'The *Little Mermaid'. Here the Beauty' and discovers how her grandmother mermaid leaves the prince, who beckoned her, to return to her sisters in the sea. In 'The Thir­ had been gassed and revived to survive the teenth Fey' Yolen recalls the story of \"\"Sleep­ ing B e a u t y ' through a first-person narrative o f Nazi destruction of the Jews. In some of her other works, Yolen has sought to revise the myths of Merlin and Arthur, and in her science-fiction/fantasy novels and stories she often experiments with shifting narrative voices and perspectives as well as with time slips. F r o m 1990 to 1996 she developed her own imprint at Harcourt Brace to publish fairy-tale novels and works of fan­ tasy by other authors and continued this series at T A R Books. Not only has Yolen made high­ ly original contributions to develop the fairy­ tale genre, but she has also encouraged and supported younger writers to produce innova­ tive work in the field. JZ 'An Interview with Jane Yolen', Mythlore, 13 (1986). Russell, David, 'Reading the Shards and Fragments: Holocaust Literature for Young Readers', The Lion and the Unicorn, 21 (1997). Weil, Ellen R., 'The Door to Lilith's Cave: Memory and Imagination in Jane Yolen's Holocaust Novels'', Journal of the Fantastic in the Arts, 5 (1983).

ZELINSKY, PAUL O . (1953- ), prizewinning American illustrator of * G r i m m s ' Tales. His *Hansel and Gretel (1984, Caldecott Medal o f Honor, text b y R i k a L e s s e r ) , * Rumpelstiltskin (1986), and *Rapuniel (1997, Caldecott G o l d Medal) incorporate an awareness of historical change into both text and illustration. (There are explanatory notes following each tale.) A s in the early Grimm version, his enraged R u m ­ pelstiltskin simply flies out o f the w i n d o w at the end, leaving behind a joyous miller's daughter saved by her faithful servant woman. With similar historicity, his Rapunzel grows to developed an interest in the social and political questions of her day fostered by close contacts maturity in a 17th-century tower that reflects with Russian émigrés in Geneva (1903). She spent World W a r I in Switzerland, studied the tale's (late) 17th-century origins. RBB marxist theory, and «11919 moved to Frankfurt am Main and joined the Communist Party. In ZEMACH, MARGOT (1931-89), American author 1933 she emigrated to V i e n n a and fled from there via Prague to England in 1938. and illustrator of more than 60 children's b o o k s Zur Miihlen was prolific as a translator and including folklore, rhymes, and songs. One of writer. She translated approximately 150 novels from American and British English, French, her first adaptations of a folk tale, The Three and Russian, and wrote several novels and radio plays. Zur Miihlen is one of the best- Sillies (1963), provided a hint o f the future hu­ known writers of proletarian fairy tales from the Weimar period. Her collections include mour, deft line, and flat colour that can be Das Schloss der Wahrheit ( The Castle of Truth, 1924), Es war einmal. . . und es wird sein (Once found in most of her works. Zemach made Upon a Time . . . and it Will Be, 1930), and Schmiede der Zukunft (Smiths of the Future, hundreds of studies in preparation for each 1933). These emancipatory tales, designed to socialize working-class children to embrace book, including Nail Soup: A Swedish Tale Re­ socialism, had a twofold task. They were to illuminate complex social and economic condi­ told (1964), Salt: A Russian Tale (1965), and tions and processes so that children could understand them and relate to them, and they Too Much Noise: An Italian Tale (1967). In less were to present models of a better world. Given their intent, these parables, allegories, than a decade beginning in 1967, she illustrated and tales are quite didactic, yet the stories were told with such force that they could hold the four books b y Isaac Bashevis *Singer, Ma^el attention of their intended audience. and Shlima^el, When Shliemiel went to Warsaw In 'Die Brillen' ('The Glasses'), published in the collection Ali der Teppichweber (Ali, the and Other Stories, Alone in the Wild Forest, and Carpet Weaver, 1923), a y o u n g hero succeeds in pulling off his glasses, glasses that present a Naftali the Storyteller and his Horse, Sus, and false and distorted image of the world and that everyone is obliged to wear. N o w seeing the Other Stories. In 1994 she w a s awarded the C a l ­ world as it really is, the hero convinces others to do the same and starts a revolution against decott Prize for Duffy and the Devil: A Cornish the forces of oppression and exploitation. The most beloved of Zur Miihlen's tales for young Tale. KH children is Was Peterchens Freunde er^dhlen (What Little Peter's Friends Tell, 1920). In this ZINGERLE, IGNAZ VINZENZ (1825-92) and ZlN- tale, everyday objects, including a piece of coal, matches, a bottle, and a bedcover, come GERLE, JOSEPH (1831-91), German folklorists. alive to tell Little Peter about the conditions Ignaz was a literary historian and poet, and Joseph was a priest and professor of theology. Together they collected folk tales and legends in southern Germany and Austria. Their most important collections w e r e Kinder- und Haus­ mdrchen aus Tirol (Children and Household Tales from Tyrol, 1852) and Kinder- und Haus­ mdrchen aus Siiddeutschland (Children and Household Tales from Southern Germany, 1852). Their emphasis was on the mythological as­ pects of folk and fairy tales. JZ ZUR MiJHLEN, HERMYNIA (1883-1951), Austrian translator and author of novels, mysteries, and proletarian fairy tales for children. Born a member of the Austro-Hungarian nobility, Zur Miihlen led a privileged life in her youth, trav­ elling widely in Europe, Africa, and the Near East. Despite her conservative upbringing, she

ZWERGER, LlSBETH 562 under which they were produced. During the and Gretel (1979), Hans Christian \"Andersen, 1920s, Zur Miihlen's fairy tales appeared in The Swineherd (1982), J a c o b and Wilhelm communist children's magazines before they G r i m m , *Little Red Riding Hood (1983), Oscar appeared in book form, many published by the \" W i l d e , The Selfish Child (1984), Hans Chris­ Malik Verlag. Her work was rediscovered in tian A n d e r s e n , The Nightingale (1991), W i l ­ West Germany in the early 1970s, influencing helm \"Hauff, Dwarf Nose (1993), Clemens the anti-authoritarian German children's litera­ \"Brentano, The Legend of Rosepetal (1995), and ture of that decade. EMM L . F r a n k \" B a u m , The *Wiiardof 0 { (1996). In­ Dolle, Bernd, Richter, Dieter, and Zipes, Jack fluenced initially by Arthur \"Rackham, (eds.), Es wird einmal. Sonale Mdrchen der Zwerger has developed her own inimitable pvanpger Jahre (1983). style using pencil-and-ink and watercolour. Karrenbrock, Helga, Her illustrations have a delicate ethereal qual­ Marchenkinder—Zeitgenossen. Untersuchungen iur Kinderliteratur der Weimarer Republik (1995). ity to them and are distinguished by their gen­ Zipes, Jack (ed.), Fairy Tales and Fables from tle lines and white space. Though Zwerger has Weimar Days (1989). focused mainly on the classical tradition of fairy tales, her illustrations are often interpret­ ZWERGER, LlSBETH (1954— ) , Austrian illustra­ ations of the well-known stories that she pre­ tor, who has achieved international fame with her fine i n k - a n d - w a s h d r a w i n g s for classical sents in a new light with subtle changes and fairy tales. Among her notable picturebooks are: E . T . A . \"Hoffmann, The Strange Child suggestive commentaries. JZ (1977), J a c o b and W i l h e l m * G r i m m , *Hansel Zwerger, Lisbeth, and Koppe, Susanne, The Art of Lisbeth Zwerger (1994).

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597 B I B L I O G R A P H Y H E A R N , L A F C A D I O , Japanese Fairy Tales, illus. Sonia R o e l t e r (1948). H E A R N , M I C H A E L P A T R I C K ( e d . ) , The Wiiard of Oi (1983). The Victorian Fairy Tale Book (1988). H E A R N E , B E T S Y (ed.), Beauties and Beasts, illus. J o a n n e Caroselli (1993). H E R D A , H E L M U T , Fairy Tales from Many Lands (1956). H E R I Z , P A T R I C K D E , Fairy Tales with a Twist (1946). I W A Y A , S U E O , Japanese Fairy Tales (1938). J A C O B S , A . J . , Fractured Fairy Tales (1997). J A C O B S , J O S E P H (ed.), English Fairy Tales (1892). (ed.), More English Folk and Fairy Tales (1894). (ed.), Celtic Fairy Tales (1892). (ed.), Indian Fairy Tales (1892). J A M E S , H A R T W E L L (ed.), The Jeweled Sea: A Book of Chinese Fairy Tales, illus. John R. Neill (1906). J O N E S , D I A N A W Y N N E (ed.), Fantasy Stories, illus. R o b i n L a w r i e (1994). J O N E S , G W Y N , Scandinavian Legends and Folk-tales, illus. J o a n K i d d e l l - M o n r o e (1956). J U N G , J O C H E N (ed.), Bilderhogengeschichten—Mdrchen, Sagen, Ahenteuer (1974). K A P L A N , I R M A , Swedish Fairy Tales, Retold in English by Irma Kaplan, illus. Carol Calder (1957). L A N G , A N D R E W (ed.), The Pink Fairy Book (1897). (ed.), The Grey Fairy Book (1900). (ed.), The Brown Fairy Book (1904). (ed.), The Book of Princes and Princesses (1908). (ed.), The Green Fairy Tale Book, illus. D o r o t h y L a k e G r e g o r y (1892; 1948). (ed.), The Yellow Fairy Tale Book, illus. J a n i c e Holland (1894; 1948). (ed.), The Blue Fairy Book, illus. B e n Kutcher (1889; 1948). (ed.), The Red Fairy Tale Book, illus. Marc Simont (1890; 1948). (ed.), The Olive Fairy Tale Book, illus. A n n e V a u g h a n (1907; 1949). (ed.), The Orange Fairy Tale Book, illus. Christine P r i c e (1906; 1949). (comp. and ed.), Arabian Nights, illus. V e r a B o c k (1898; 1951). (ed.), The Rose Fairy Tale Book, illus. V e r a B o c k (1961). (ed.), The Violet Fairy Tale Book, illus. D o r o t h y L a k e G r e g o r y (1901; 1962). (ed.), The Crimson Fairy Tale Book, illus. B e n Kutcher (1903; 1962). (ed.), Fifty Favorite Fairy Tales Chosen from the Color Fairy Books of Andrew Lang, illus. M a r g e r y G i l l (1964). (ed.), The Lilac Fairy Tale Book, illus. H . J . F o r d (1910; 1968). L L E B E R M A N , SY D , Joseph the Tailor and Other Jewish Tales (1997). L O T T R I D G E , C E L I A B A R K E R (éd.), A Children's Treasury of American Stories & Poems (1995). L O W I N G S , J O H N (ed.), At the Edge of the World: Magical Stories of Ireland (1998). L U R I E , A L I S O N (ed.), Clever Gretchen and Other Forgotten Folktales (1980). (ed.), The Oxford Book of Modern Fairy Tales (1993). M A C D O N A L D , M A G A R E T R E A D (ed.), Peace Tales: World Folktales to Talk About (1992). (ed.), Tom Thumb, illus. J o a n n e Caroselli (1993). M A C K A Y E , P E R C Y , Tall Tales of the Kentucky Mountains (1926).

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599 B I B L I O G R A P H Y P I T R E , G I U S E P P E (éd.), Fiabe, novelle e racconti (1875). P O G R E B I N , L E T T Y (ed.), Stories for Free Children (1982). P O L E V O I , P E T R N I K O L A E V I C H , Russian Fairy Tales, ed. and trans. R . N i s b e t Bain, illus. Noel L . Nisbet (1927). R A C K H A M , A R T H U R ( c o m p . ) , Arthur Rackham Fairy Book: A Book of Old Favorites with New Illustrations (1930). (comp. and illus.), Fairy Tales from Many Lands (1974). R A M A N U J A N , A . K . (ed.), Folktales from India (1991). R A N D O L F , V A N C E (ed.), The Devils Pretty Daughter and Other 0\\ark Folk Tales (i955)- R A N K E , K U R T (ed.), Folktales of Germany (1966). R A N S O M E , A R T H U R , Old Peter s Russian Tales, illus. D m i t r i M i t r o k h i m (1969). R E E D , A L E X A N D E R W Y C L I F , Fairy Tales from the Pacific Islands, illus. Stewart Irwin (1969). R E E V E S , J A M E S , English Fables and Fairy Stories, illus. J o a n K i d d e l l - M o n r o e R E N E A U X , J . J . , Cajun Fairy Tales (1997). R I O R D A N , J A M E S (comp. and trans.), The Sun Maiden and the Crescent Moon: Siberian Folk Tales (1991). R O B E R T , R A Y M O N D E (ed.), / / était une fois les fées: contes du XVIIe et XVille siècles (1984). (éd.), Contes parodiques et licencieux du 18e siècle (1987). R O B E R T S , M O S S (éd.), Chinese Fairy Tales and Fantasies (1979). R O D R I G U E Z A L M O D O V A R , A N T O N I O ( é d . ) , Los cuentos maravillosos espanoles (1982). (ed.), Cuentos maravillosos: cuentos populares andaluces y cuentos maravillosos espanoles (1986). R O M S K A U G , B R E N D A ( c o m p . ) , Norwegian Fairy Tales, illus. I v a r Pettersen (1961). R O T T E N S T E I N E R , F R A N Z ( e d . ) , The Slaying of the Dragon: Modern Tales of the Playful Imagination (1984). R U S S E L L , W I L L I A M F . (ed.), More Classics to Read Aloud to your Children (1986). S C H R A M M , P E N I N N A H , Jewish Stories One Generation Tells Another (1987). S C H W A R T Z , H O W A R D , Elijahs Violin and Other Jewish Fairy Tales, illus. L i n d a Heller (1985). S É B I L L O T , P A U L , Contes populaires de la Haute-Bretagne (1882). S E K I , K E I G O (éd.), Folktales of Japan (1963). S H E R M A N , J O S E P H A , Trickster Tales: Forty Folk Stories from Around the World (1997). by S I E R R A , J U D Y ( e d . ) , Cinderella (1992). S T E P H E N S , J A M E S , Irish Fairy Tales, illus. A r t h u r R a c k h a m (1920). S T E P H E N S , J O H N R I C H A R D (ed.), The King of the Cats and Other Feline Fairy Tales (1993). S T R I C K L A N D , A G N E S , Tales from English History: For Children (1868). T E Z E L , N A K I , Fairy Tales from Turkey, illus. O l g a L e h m a n n (1951). T H O M P S O N , S T I T H , One Hundred Favorite Folktales, illus. F r a n z Altschuler (1968). T H O R P E , B E N J A M I N ( c o m p . ) , Tales on the North Wind, Old Fairy Tales Retold Benjamin Thorpe and Thomas Keightley (1956). T O N G , D I A N E (ed.), Gypsy Folktales (1989).

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601 BIBLIOGRAPHY Children's Literature Association Quarterly Ethnologie Française: Revue Trimestrielle de la Société d'Ethnologie Française Fabula: Zeitschrift fiir Erjàhlforschung/Journal of FolktaleStudies/Revue d'Etudes sur le Conte Populaire {Fabula) Folklore and Mythology Studies Folklore: English Monthly Devoted to the Cause of Indian Folklore Society Folklore Historian: Journal of the Folklore and History Section of the American Folklore Society Germanistische Mitteilungen: Zeitschrift fur Deutsche Sprache, Literatur und Kultur in Wissenschaft und Praxis International Folklore Review Journal of American Folklore Journal of the Fantastic in the Arts Journal of the Folklore Institute Journal of Folklore Research Journal of Popular Culture Kentucky Folklore Record: A Regional Journal of Folklore and Folklife The Lion and the Unicorn: A Critical Journal of Children's Literature Louisiana Folklore Miscellany Marvels and Tales Medieval Folklore Merveilles et Contes Mid-America Folklore Midwestern Folklore Mythlore: A Journal ofJ. R. R. Tolkien, C. S. Lewis, Charles Williams, and the Genres of Myth and Fantasy New York Folklore Quarterly North Carolina Folklore Journal North Wind: Journal of the George MacDonald Society Phaedrus: An International Annual of Children's Literature Research Présence Africaine: Revue Culturelle du Monde Noir/Cultural Review of the Negro World Revista de Dialectologia y Tradiciones Populares Revista Iberoamericana Schlesien: Arts, Science, Folklore Sinsear: The Folklore Journal Southern Folklore Tennessee Folklore Society Bulletin Western Folklore Yed'a- 'Am/Yeda-Am: Bamah le-Folklor Yehudi/Journal of the Israel Folklore Society



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