Adrea Kore, Anthology Release, Desire, Erotic Fairytales, erotic poetry, Fairytale Re-Tellings, Female Sexuality, Feminine Rites of Passage, Greek Mythology, Lustily Ever After, Myth Re-tellings, Persephone, Published Poetry
What is it about fairy tales and myths that can speak so powerfully to us, despite the distance between when they were written and where we are now, as a contemporary audience? According to writer Sanjida O’ Connell, recent research indicates that “fairy tales are ancient, at least one dates back to the Bronze Age, whilst others, such as Beauty and the Beast and Rumplestiltskin, are over 4,000 years old.”
Narrative is part of the human psyche, the way we explain the world to ourselves and each other.
How is it that a fairytale we loved as a child can still resonate strongly for us as an adult? One of those reasons is that fairy tales and myths are dense with symbols and archetypes, elements which hold a multiplicity of meanings, depending on who is doing the looking, and from what angle.
How a story is told depends on who is doing the telling.
This may also be why a writer intent on creating more relevant meanings for a contemporary female audience, may find the narrative and archetypal characters of many myths and fairy tales pliable to re-interpretation and re-attribution of meanings. We are not so far removed, it seems, from understanding Rapunzel’s isolation, or Athena’s drive for perfection. Sanjida O’Connell expresses this beautifully:
“Narrative is part of the human psyche, the way we explain the world to ourselves and each other.”
Or as surrealist Elizabeth Lenk described this sense of timelessness in myth and fairytale, “the walls between time periods are extremely close to one another.” I like this idea; that as women writers, we might put our ear to a metaphorical wall and hear the story of Bluebeard’s wife or Persephone as if it is going on in the next room, as if it is close to us.
Although I adored and devoured fairy tales as a child, it’s hard not to look at them now through feminist eyes. As O’Connell asserts, though the tales “may begin in such a cosy way, make no mistake – fairy stories are dark tales of misogyny, social climbing, child abuse and infanticide.” Myths and fairy tales tend to ascribe very traditional, polarized roles to women. They are often either the “good” woman:
Or the bad, trouble-making woman:
- outcast / beggar / nagging wife
Additionally, the play and power of female sexuality is often submerged or sidelined, hidden behind the desires and needs of male characters in patriarchal worlds. One of my favourite collections of re-imagined fairy tales is Angela Carter’s “The Bloody Chamber”, in part because she found ways to make the themes of female sexuality more explicit and central to the narrative than in the originals, and wrote them in a way that questioned the roles of women in patriarchal societies and the limited choices they had, often creating new paths of action for her female characters.
From an introductory essay to a volume of science-fiction and fantasy stories written by women (She’s Fantastical, 1995), writer Ursula Le Guin observes:
“In the last thirty years or so, as women have taken to writing as women, not as honorary or artificial men, it’s become clear that they see a rather different world, and describe it by rather different means. The most startling difference is that men aren’t at the centre of it …” Continue reading