NOTES

Introduction. The Vibrant Body of the Grimms’ Folk and Fairy Tales, Which Do Not Belong to the Grimms

  1.   Y. M. Sokolov, Russian Folklore (Hatboro, PA: Folklore Associates, 1966): 52.

  2.   Timothy Baycroft and David Hopkin, eds. Folklore and Nationalism in Europe during the Long Nineteenth Century (Leiden: Brill, 2012): 409.

  3.   Onions, C. T., ed. The Oxford University Dictionary on Historical Principles. 3rd. rev. ed. Oxford, UK: Oxford University Press, 1944.

  4.   Jacob und Wilhlem Grimm, Kinder- und Hausmärchen gesammelt durch die Brüder Grimm [1812/1815, Erstausgabe], ed. Ulrike Marquardt and Heinz Rölleke, vol. 1 (Göttingen: Vandenhoeck & Ruprecht, 1986): xviii–xxi. (My translation.)

  5.   Ibid., vol. 2, vii–x. (My translation.)

  6.   See Jacob and Wilhelm Grimm, The Original Folk and Fairy Tales of the Brothers Grimm: The First Edition (Princeton, NJ: Princeton University Press, 2014).

  7.   André Jolles, Einfache Formen: Legende/Sage/Mythe/Spruch Kasus/Memorabile,Märchen/Witz (Darmstadt: Wissenschaftliche Buchgesellschaft, 1958): 243. Reprint of the 1930 edition.

  8.   Jeffrey Peck, “ ‘In the Beginning Was the Word’: Germany and the Origins of German Studies.” In Medievalism and the Modernist Temper, ed. R. Howard Bloch and Stephen Nichols (Baltimore: Johns Hopkins University Press, 1996): 129.

  9.   For a full account of the exchange with Achim von Arnim, see chapters 5 and 8 in Reinhold Steig and Hermann Grimm, eds., Achim von Arnim und die ihm nahe standen, vol. 3 (Stuttgart: J. G. Cotta’schen Buchhandlung, 1904): 115–44 and 213–73.

10.   Jens Sennewald, Das Buch, das wird sind: Zur Poetik der “Kinder- und Hausmärchen” gesammelt durch die Brüder Grimm (Würzburg: Könighausen & Neumann, 2004): 346.

11.   Seven years after the discovery of the manuscript, it was published as a book. See Joseph Lefftz, ed., Märchen der Brüder Grimm. Urfassung nach der Originalhandschrift der Abtei Ölenberg im Elsaß (Heidelberg: C. Winter, 1927). This edition is somewhat faulty. The most thorough scholarly edition is Heinz Rölleke, Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812 (Cologny-Geneva: Fondation Martin Bodmer, 1975).

12.   Vanessa Joosen, “Back to Ölenberg: An Intertextual Dialogue between Fairy-Tale Retellings and the Sociohistorical Study of the Grimm Tales,” Marvels & Tales 24.1 (2010): 99–115.

13.   Heinz Rölleke, Märchen aus dem Nachlaß der Brüder Grimm, 3rd rev. ed. (Bonn: Bouvier, 1983).

14.   See Wilhelm Stapel, ed., Fünfundfünfzig vergessene Grimmsche Märchen (Hamburg: Hanseatische Verlagsanstalt, 1922); Ruth Michaelis-Jena and Arthur Ratcliffe, eds. Grimms’ Other Tales: A New Selection, illustr. Gwenda Morgan (London: Golden Cockerel Press, 1956); Heinz Rölleke, ed. Die wahren Märchen der Brüder Grimm (Frankfurt am Main: Fischer Taschenbuch, 1989); Heinz Rölleke, Grimms Märchen wie sie nicht im Buch stehen (Frankfurt am Main: Insel Taschenbuch, 1993). Some omitted and posthumous tales can be found in the appendix of my translation of the 1857 edition. See Jacob and Wilhelm Grimm, The Complete Fairy Tales of the Brothers Grimm, ed. and trans. Jack Zipes, 3rd rev. and enlarged ed. (New York: Bantam, 2003).

15.   Reprinted in Heinz Rölleke, Die Märchen der Brüder Grimm (Munich: Artemis, 1987): 63–69.

16.   All these quotations are taken from Jacob Grimm’s letter to Brentano, which can be found in Reinhold Steig, Clemens Bretano und die Brüder Grimm (Stuttgart: J. G. Cotta’sche Buchhandlung, 1914): 164–71.

17.   Jacob Grimm, Circular wegen Aufsammlung der Volkspoesie, ed. Ludwig Denecke, afterword Kurt Ranke (Kassel: Brüder Grimm-Museum, 1968): 3–4.

18.   Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature, ed. Randal Johnson (New York: Columbia University Press, 1993): 30.

19.   Jeep Leerssen, “From Bökendorf to Berlin: Private Careers, Public Sphere, and How the Past Changed in Jacob Grimm’s Lifetime,” in Free Access to the Past: Romanticism, Cultural Heritage and the Nation, ed. Lotte Jensen, Joep Leerssen, and Marita Mathijsen (Leiden, Netherlands: Brill Academic Publishers, 2009): 69.

20.   See Albert Schindehütte, ed., Krauses Grimm’sche Märchen (Kassel: Johannes Staude, 1985).

21.   For complete information about Viehmann, see the excellent collection of essays edited by Holger Ehrhardt, Dorothea Viehmann (Kassel: Euregioverlag, 2012).

22.   Edgar Taylor, who published two volumes of the Grimms’ tales under the title German Popular Stories in 1823 and 1826, went on to publish a third volume in 1839: Gammer Grethel; or German Fairy Tales Popular Stories, From the Collection of MM. Grimm, and Other Sources; with illustrative notes. (London: John Green, 1839). The frontispiece to this edition was the drawing of Dorothea Viehmann, who in Taylor’s hands was made into the ideal storyteller.

23.   Grimm, Kinder- und Hausmärchen gesammelt durch die Brüder Grimm [1812/1815, Erstausgabe], vol. 2, iv–vi.

24.   See Albert Schindehütte, Die Grimm’schen Märchen der jungen Marie (Marburg: Hitzeroth, 1991).

25.   See Heinz Rölleke, “Wo das Wünschen noch geholfen hat.” Gesammelte Aufsätze zu den “Kinder- und Hausmärchen” der Brüder Grimm (Bonn: Bouvier, 1985); Die Märchen der Brüder Grimm: Quellen und Studien (Trier:Wissenschaftlicher Verlag Trier, 2000); Es war einmal … Die wahren Märchen der Brüder Grimm und wer sie ihnen erzählte, illustr. Albert Schindehütte (Frankfurt am Main: Eichorn, 2011).

26.   Heinz Rölleke, ed. Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812 (Cologny-Geneva: Fondation Martin Bodmer, 1975): 144.

27.   Ibid., 145.

28.   Jacob and Wilhelm Grimm, The Complete Fairy Tales of the Brothers Grimm, ed. and trans. Jack Zipes, 3rd rev. ed. (New York: Bantam, 2003): 2.

29.   For a thorough study of this tale type, see Lutz Röhrich, Wage es, den Frosch zu küssen: Das Grimmsche Märchen Nummer Eins in seinen Wandlungen (Cologne: Eugen Diederichs Verlag, 1987).

30.   Siegfried Neumann, “The Brothers Grimm as Collectors and Editors of German Folktales,” in The Reception of Grimms’ Fairy Tales: Response, Reactions, Revisions, ed. Donald Haase (Detroit: Wayne State University Press, 1993): 30.

31.   See Karoline Stahl, Fabeln und Erzählungen für Kinder (Nürnberg, 1818).

32.   Ibid., 33–34. In his remarks, Neumann cites Hermann Strobach, ed., Geschichte der deutschen Volksdichtung (Berlin: Akademie-Verlag, 1981): 90.

33.   For more information about Wolf, see Ludwig Fränkel, “Wolf, Johann Wilhelm,” in Allgemeine Deutsche Biographie (ADB), vol. 43 (Leipzig: Duncker & Humboldt, 1898): 765–77.

34.   For a full account of his life, see Ines Köhler-Zölch, “Heinrich Pröhle: A Successor to the Brothers Grimm,” in The Reception of Grimms’ Fairy Tales: Responses, Reactions, Revisions, ed. Donald Haase (Detroit: Wayne State University Press, 1993): 41–58.

35.   Heinrich Pröhle, Märchen für die Jugend (Halle: Verlag des Waisenhauses, 1854): x.

36.   Köhler-Zülch, “Heinrich Pröhle,” 51–52.

37.   See the bibliography for a complete list of their works.

38.   See Luisa Del Giudice and Gerald Porter, eds., Imagined States: Nationalism, Utopia and Longing in Oral Cultures (Logan: Utah State University Press, 2001); Jennifer Schacker, National Dreams: The Remaking of Fairy Tales in Nineteenth-Century England (Philadelphia: University of Pennsylvania Press, 2003); Joep Leerssen, National Thought in Europe: A Cultural History (Amsterdam: Amsterdam University Press, 2006); and Baycroft and Hopkin, eds., Folklore and Nationalism in Europe During the Long Nineteenth Century (2012).

39.   See Marte Hvam Hult, Framing a National Narrative: The Legend Collections of Peter Christen Asbjørnsen (Detroit: Wayne State University Press, 2003).

40.   See Reimund Kvideland, “The Collecting and Study of Tales in Scandinavia,” in A Companion to the Fairy Tale, ed. Hilda Ellis Davidson and Anna Chaudhri (Cambridge, UK: D. S. Brewer, 2003): 159–68.

41.   Ibid., 160.

42.   See Timothy Tangherlini, ed. and trans., Danish Folktales, Legends and Other Stories (Seattle: University of Washington Press, 2013), and the excellent book review, Paul Binding, “Respect the Goblin,” Times Literary Supplement (October 4, 2013): 5.

43.   See James Riordan, “Russian Fairy Tales and Their Collectors,” in A Companion to the Fairy Tale, ed. Hilda Ellis Davidson and Anna Chaudhri (Cambridge, UK: D. S. Brewer, 2003): 217–26.

44.   See David Hopkin, Voices of the People in Nineteenth-Century France (Cambridge, UK: Cambridge University Press, 2012).

45.   Randal Allison, “Tradition,” in Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art, ed. Thomas Green (Santa Barbara, CA: ABC-CLIO, 1997): 799–800.

46.   Eric Hobsbawm and Terrence Ranger, eds., The Invention of Tradition (Cambridge, UK: Cambridge University Press, 1983), 1. See also Tad Tuleja, “Invented Tradition,” in Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art, ed. Thomas Green (Santa Barbara, CA: ABC-CLIO, 1997), 466–68.

47.   Ibid., 9.

48.   Elliott Oring, “Thinking through Tradition,” in Tradition in the Twenty-First Century: Locating the Role of the Present in the Past, ed. Trevor Blank and Robert Glenn Howard (Logan: Utah State University Press, 2013):25.

49.   Simon Bronner, “The ‘Handiness’ of Tradition,” in Tradition in the Twenty-First Century: Locating the Role of the Present in the Past, ed. Trevor Blank and Robert Glenn Howard (Logan: Utah State University Press, 2013), 189. This essay also appears in Bronner’s thought-provoking and comprehensive study, Explaining Traditions: Folk Behavior in Modern Culture (Lexington: The University Press of Kentucky, 2011).

50.   Ibid., 197.

51.   See Jan Assmann, Cultural Memory and Early Civilization: Writing, Remembrance, and Political Imagination (Cambridge, UK: Cambridge University Press, 2011); and Aleida Assmann, Cultural Memory and Western Civilization: Functions, Media, Archives (Cambridge, UK: Cambridge University Press, 2011). See also Tristan Landry, La mémoire du conte folklorique de l’oral à l’écrit: Les freres Grimm et Afanas’ev (Laval, Canada: Les Presses de l’Université Laval, 2005), which is based on Jan Assmann’s work.

52.   Jan Assmann, Cultural Memory and Early Civilization, 2–3.

Chapter One. German Popular Stories as Revolutionary Book

First appeared as the introduction to Brothers Grimm, German Popular Stories, edited by Jack Zipes. Kent, UK: Crescent Moon, 2012. It is printed here in a longer version with permission of Crescent Moon Publishing.

  1.   Albert, Leitzmann, ed., Briefwechsel der Brüder Jacob und Wilhelm Grimm mit Karl Lachmann, vol. 1 (Jena: Verlag der Frommannschen Buchhandlung, 1927): 390. Lachmann was one of the foremost German philologists of the nineteenth century and became a professor at the Humboldt University in Berlin.

  2.   David Blamires, “The Early Reception of the Grimms’ Kinder- und Hausmärchen in England,” Bulletin of the John Rylands University Library of Manchester 71.3 (1989): 69.

  3.   Brian Alderson, “The Spoken and the Read: German Popular Stories and English Popular Diction,” in Donald Haase, ed., The Reception of Grimms’ Fairy Tales: Responses, Reactions, Revisions (Detroit: Wayne State University Press, 1993): 67.

  4.   Ibid., 66–67. Alderson perceptively notes: “One can argue that the Grimms—as they themselves recognized—were well served by this translation. For although it is deeply conservative in its response to the originalities of the Kinder- und Hausmärchen, and although it is cavalier over the precise matching of words—which the Grimms also recognized—it is nevertheless a version with a proper feeling for the rhythms of English prose. If the Grimms could not finally follow the ideals of a ‘pure’ recording of the storyteller’s voice, we can hardly expect their translator—embattled in the ‘fastidious’ climate of 1823—to exceed them. What he did do, over many pages of his book was to respond naturally to the language of the stories and make them sound as though they originated in English rather than in German.”

  5.   In 1948, Puffin Classics (Penguin) published an edition with the title Grimms’ Fairy Tales, which does not indicate who the translator is, but it does highlight Cruikshank’s illustrations. The cover is a colored rendition of “Hans in Luck.”

  6.   Fairy Tales from the Brothers Grimm, intro. by Cornelia Funke, illustr. by George Cruikshank (London: Puffin, 2012). To spruce up this anniversary edition, there are six color illustrations by well-known illustrators: Oliver Jeffers, Quentin Blake, Raymond Briggs, Emma Chichester Clark, Axel Scheffler, and Helen Oxenbury. Little did these illustrators know that they weren’t illustrating the Grimms’ tales, but Taylor’s adaptations.

  7.   For information about Cruikshank’s work, see Robert Patten, “George Cruikshank’s Grimm Humor,” in Joachim Müller, ed., Imagination on a Long Rein: English Literature Illustrated (Marburg: Jonas, 1988): 3–28; and George Cruikshank: Life, Times, and Art, 2 vols. (New Brunswick, NJ: Rutgers University Press, 1992).

  8.   The dates of the Large Edition are 1812/1815, 1819, 1837, 1840, 1843, 1850, 1857. The last edition contained 210 tales. The dates of the Small Edition are 1825, 1833, 1836, 1839, 1841, 1844, 1847, 1850, 1853, 1858. They always contained 50 tales that were generally revised in accordance with the same tales in the Large Edition, though there were some small differences. The Small Edition began with “The Frog King” and ended with the “The Star Coins,” two tales clearly adapted for young readers. The illustrations by Ludwig Pietsch tend to be realistic and somewhat sanctimonious. See Heinz Rölleke’s “Nachwort” in Kinder- und Hausmärchen gesammelt durch die Brüder Grimm: Kleine Ausgabe von 1858 (Frankfurt am Main: Insel, 1985): 291–95; and Ruth Bottigheimer, “The Publishing History of Grimms’ Tales: Reception at the Cash Register” in Donald Haase, ed., The Reception of the Grimms’ Fairy Tales: Responses, Reactions, Revisions (Detroit: Wayne State University Press, 1993): 78–101.

  9.   Most of the recent scholarship on Taylor’s “revolutionary” transformation of the Grimms’ tales are in agreement on this point, with slight differences of emphasis. See David Blamires, “The Early Reception of the Grimms’ Kinder- und Hausmärchen in England,” (1989); Brian Alderson, “The Spoken and the Read: German Popular Stories and English Popular Diction” (1993); Martin Sutton, The Sin-Complex: A Critical Study of English Versions of the Grimms’ Kinder- und Hausmärchen in the Nineteenth Century (Kassel: Schriften der Brüder Grimm-Gesellschaft, 1996); Jennifer Schacker, National Dreams: The Remaking of Fairy Tales in Nineteenth Century England (Philadelphia: University of Pennsylvania Press, 2003); Gillian Lathey, The Role of Translators in Children’s Literature: Invisible Storyteller (New York: Routledge, 2010).

10.   See Molly Clark Hillard, Spellbound: The Fairy Tale and the Victorians (Columbus: Ohio State University Press, 2014).

11.   See Heinz Rölleke, ed., Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812 (Cologny-Geneva: Fondation Martin Bodmer, 1975).

12.   Jens Sennewald, Das Buch, das Wir Sind: Zur Poetik der “Kinder- und Hausmärchen, gesammelt durch die Brüder Grimm” (Würzbrug: Königshausen & Neumann, 2004): 14–18.

13.   Ibid., 42–47.

14.   Reinhold Steig and Herman Grimm, eds., Achim von Arnim und die ihm nahe standen, vol. 3 (Stuttgart: J. G. Cotta’schen Buchhandlung, 1904): 237.

15.   Ibid., 269.

16.   Ibid., 271.

17.   Kinder- und Hausmärchen gesammelt durch die Brüder Grimm [1812/1815, Erstausgabe], ed. Ulrike Marquardt and Heinz Rölleke, vol. 2. (Göttingen: Vandenhoeck & Ruprecht, 1986): vii–x.

18. Some more biographical information about Taylor can be found in Ruth Michaelis-Jena,” Edgar and John Edward Taylor, die ersten englischen Übersetzer der Kinder- und Hausmärchen,” in Brüder Grimm Gedenken, ed. Ludwig Denecke, vol. 2. (Marburg: N. G. Elwert, 1975): 183–202; Sutton, The Sin-Complex: A Critical Study of English Versions of the Grimms’ Kinder- und Hausmärchen in the Nineteenth Century; and Schacker, National Dreams: The Remaking of Fairy Tales in Nineteenth Century England.

19.   Francis Cohen, “Antiquities of Nursery Literature: Review of Fairy Tales, or the Lilliputian Cabinet, Containing Twenty-Four Choice Pieces of Fancy and Fiction, collected by Benjamin Tabart,” Quarterly Review 21.41 (January 1819): 92–93.

20.   For the most thorough account of Cohen’s life and his correspondence with the Grimms, see Lothar Bluhm, “Sir Francis Cohen/Palgrave. Zur frühen Rezeption der Kinder- und Hausmärchen in England,” in Brüder Grimm Gedenken, ed. Ludwig Denecke, vol. 7 (Marburg: N. G. Elwert, 1987): 224–42.

21.   See Edgar Taylor, “German Popular and Traditionary Literature,” New Monthly Magazine and Literary Journal 2 (1821): 146–52, 329–36, 537–44; and 4 (1822): 289–96.

22.   Ibid., 2: 146–47.

23.   Robert Patten, “George Cruikshank’s Grimm Humor,” in Joachim Müller, ed., Imagination on a Long Rein: English Literature Illustrated (Marburg: Jonas, 1988): 14.

24.   Sir Walter Scott, “Letter to Edgar Taylor, January 16 1823,” in The Letters of Sir Walter Scott, ed. Herbert Grierson, vol. 7 (London: Constable, 1934): 310.

25.   Cohen also has an interest in this work.

26.   Grimm’s Goblins. Grimm’s Household Stories, Translated from the Kinder und Haus Marchen, illustr. George Cruikshank (London: R. Meek, 1876): viii.

27.   F. J. Harvey Darton, Children’s Books in England: Five Centuries of Social Life, 3rd rev. ed. by Brian Alderson (Cambridge, UK: Cambridge University Press, 1982): 99.

28.   See Sutton, The Sin-Complex: A Critical Study of English Versions of the Grimms’ Kinder- und Hausmärchen in the Nineteenth Century; Schacker, National Dreams: The Remaking of Fairy Tales in Nineteenth Century England; and Matthew Grenby, “Tame Fairies Make Good Teachers: The Popularity of Early British Fairy Tales,” The Lion and the Unicorn 30 (2006): 1–24.

29.   See Sutton, 22–47.

30.   Taylor, Edgar, ed., German Popular Stories, illustr. George Cruikshank (London: John Camden Hotten, 1869): 122.

31.   Gammer Grethel or German Fairy Tales, and Popular Stories, from the collection of MM. Grimm, and other sources, with illustrative notes (London: John Green, 1839): 1.

Chapter Two. Hyping the Grimms’ Fairy Tales

Appeared in a slightly modified version as “Hyping the Grimms’ Fairy Tales,” by Jack Zipes, in The Cambridge Companion to Fairy Tales, edited by Maria Tatar. Cambridge, UK: Cambridge University Press, 2014. Copyright © 2014 Cambridge University Press. Reprinted with permission.

  1.   Donald Haase, “Framing the Brothers Grimm: Paratexts and Intercultural Transmission in Postwar English-Language Editions of the Kinder- und Hausmärchen,” Fabula 44.1/2 (2003): 66.

  2.   Jonathan Gray, Show Sold Separately: Promos, Spoilers, and Other Media Paratexts (New York: New York University Press, 2010): 5.

  3.   Ibid., 5.

  4.   Gérard Genette, Paratexts: Thresholds of Interpretation, trans. Jane Lewin (Cambridge, UK: Cambridge University Press, 1997): 2.

  5.   Ibid., 6.

  6.   See Roland Barthes, “The Death of the Author” [1967], in Image-Music-Text, ed. and trans. Stephen Heath (New York: Hill and Wang, 1977): 142–48; and Michel Foucault, “What Is an Author?”[1969], in Language, Counter Memory, Practice, ed. and trans. Donald Bouchard and Sherry Simon (Ithaca, NY: Cornell University Press, 1977): 124–27.

  7.   Haase, “Framing the Brothers Grimm,” 56–57.

  8.   Ibid., 57.

  9.   In Maria Tatar, The Hard Facts of the Grimms’ Tales (Princeton, NJ: Princeton University Press, 1987): 216–17.

10.   See Hermann Gerstner, ed., Grimms Märchen: Die kleine Ausgabe aus dem Jahr 1825 (Dortmund: Harenberg, 1982).

11.   E-mail letter with Michael Drout on July 1, 2011. See his book for a further discussion of memes: How Tradition Works: A Meme-Based Cultural Poetics of the AngloSaxon Tenth Century (Tempe: Arizona Center for Medieval and Renaissance Studies, 2006).

12.   Available at http://adisney.go.com/disneypictures/tangled/.

13.   See Yvonne Verdier, “Grand-mères, si vous saviez: le Petit Chaperon Rouge dans la tradition orale,” Cahiers de Littérature Orale 4 (1978): 17–55; and Jan Ziolkowski, Fairy Tales from before Fairy Tales: The Medieval Latin Past of Wonderful Lies (Ann Arbor: University of Michigan Press, 2006).

14.   For a translation, see Paul Delarue, ed., The Borzoi Book of French Folk Tales, trans. Austin Fife. Illustr. Warren Chappell (New York: Knopf, 1956).

15.   Available at http://herocomplex.latimes.com/2010/11/16/red-riding-hood-director-catherine-hardwicke-explains-the-big-bad-sexy-secret/.

16.   Susan Carpenter, “ ‘Red Riding Hood’ Movie Is Already Hot as a Novel and E-book,” Los Angeles Times (March 8, 2011). http://articles.latimes.com/2011/mar/08/entertainment/la-et-red-riding-novel-20110308.

17.   “Hoodwinked Too! HOOD VS. EVIL,” April 28, 2009. http://www.hollywoodgo.com/movie/hoodwinked-too-hood-vs-evil-3396/.

18.   Jake Coyle, “ ‘Hoodwinked Too!’—More Polished, Less Funny,” Associated Press (April 29, 2011). http://www.mercurynews.com/movies-dvd/ci_17949919.

19.   For a thorough analysis of how blockbusters operate, see Anita Elberse, Blockbusters: Hit-Making, Risk-Taking, and the Big Business of Entertainment (New York: Henry Holt, 2013).

20.   Guy Debord, The Society of the Spectacle, trans. Donald Nicholson-Smith (New York: Zone Books, 1995): 19. First published as La Societé du spectacle (Paris: Buchet-Chastel, 1967).

21.   Available at http://en.wikipedia.org/wiki/Hansel_%26_Gretel:_Witch_Hunters.

22.   Ibid.

23.   Claudia Puig, “ ‘Hansel and Gretel’: No Happily Ever After, or During.” http://usatoday.com/story/life/movies/2013/01/25/hansel-and-gretel-review/1864211/Usatoday.com.

24.   Greg Gilman, “Paramount Planning ‘Hansel & Gretel: Witch Hunters’ sequel, http://movies.yahoo.com/news/paramount-planning-hansel-gretel-witch-hunters-sequel-003927815.html, Reuters, March 19, 2013.

Chapter Three. Americanization of the Grimms’ Folk and Fairy Tales: Twists and Turns of History

  1.   Simon Bronner, “The Americanization of the Brothers Grimm,” Following Tradition: Folklore in the Discourse of American Culture (Logan: Utah State University Press, 1998): 236.

  2.   Erik Bergstrom, Grimmer Tales: A Wicked Collection of Happily Never After Stories (New York: Penguin, 2010).

  3.   The Wonderful World of the Brothers Grimm (1962), directed by Henry Levin and George Pal; Once Upon a Brothers Grimm (1977), directed by Norman Campbell; and The Brothers Grimm (2005), directed by Terry Gilliam.

  4.   See the excellent comprehensive article by Kendra Magnus-Johnston, “ ‘Reeling In’ Grimm Masculinities,” Marvels and Tales 27.1 (2013): 65–88.

  5.   For the most thorough study of this process, see Bronner, “The Americanization of the Brothers Grimm,” in Following Tradition.

  6.   See Wayland Hand, “Die Märchen der Brüder Grimm in den Vereinigten Staaten,” in Ludwig Denecke and Ina-Maria Greverus, eds., Brüder Grimm Gedenken, vol. 1 (Marburg: N. G. Elwert, 1963): 525–44; Simon Bronner, “The Americanization of the Brothers Grimm,” in Following Tradition, 184–236; and William Bernard McCarthy, ed. Cinderella in America (Jackson: University of Mississippi Press, 2007).

  7.   Bronner, 186–87.

  8.   Ibid., 236.

  9.   See Henry Pochmann, German Culture in America: Philosophical and Literary Influences, 1600–1900 (Madison: University of Wisconsin Press, 1957).

10.   McCarthy, Cinderella in America, 8.

11.   Ibid., 15.

12.   Orrin Robinson, Grimm Language: Grammar, Gender and Genuiness in the Fairy Tales (Amsterdam: John Benjamins, 2010): 32.

13.   Thomas Frederick Crane, “The External History of the Kinder- und Hausmärchen of the Brothers Grimm: I,” Modern Philology 14.10 (February 1910): 599.

14.   Horace E. Scudder, Fables and Folk Stories (Boston: Houghton Mifflin, 1906): vii–viii.

15.   See David Blamires, “The Early Reception of the Grimms’ Kinder- und Hausmärchen in England,” Bulletin of the John Rylands University Library of Manchester 71.3 (1989): 69–77; and M. O. Grenby, “Tame Fairies Make Good Teachers: The Popularity of Early British Films,” The Lion and the Unicorn 30 (2006): 1–24.

16.   See Andrea Immel, “Tabart, Benjamin,” in Jack Zipes, ed., The Oxford Encyclopedia of Children’s Literature, vol. 4 (Oxford, UK: Oxford University Press, 2006): 69; and Matthew Grenby, “Tame Fairies Make Good Teachers: The Popularity of Early British Fairy Tales,” The Lion and the Unicorn 30 (2006): 1–24.

17.   See G. Richard, Contes Bleus et Roses pour l’amusement des grands et des petits enfants (Paris: Librairie du Petit Journal, 1865).

18.   Martin Sutton, The Sin-Complex: A Critical Study of English Versions of the Grimms’ Kinder- und Hausmärchen in the Nineteenth Century (Kassel: Schriften der Brüder Grimm-Gesellschaft, 1996). For a discussion of the Margaret Hunt translation, see pp. 261–304.

19.   Laura Kready, A Study of Fairy Tales (Boston: Houghton Mifflin, 1916): viii–ix.

20.   Grimm’s Fairy Tales, trans. Margaret Hunt, illustr. John Gruelle (New York: Cupples and Leon, 1914).

21.   The trend to adapting “Cinderella” for the cinema began even earlier in America, as Kristian Moen points out in his important study, Film and Fairy Tales: The Birth of Modern Fantasy (London: I. B. Tauris, 2013): 115: “Along with numerous versions in other media and the prominence of the general narrative arc, several film versions of ‘Cinderella’ had appeared in the early 1910s, making it one of the most frequently adapted film subjects of the time.”

22.   See Anthony Manna. “The Americanization of the Brothers Grimm: Or, Tom Davenport’s Film Adaptation of German Folktales,” Children’s Literature Association Quarterly 13 (1998): 142–45; and Elizabeth Rose Gruner, “Saving ‘Cinderella’: History and Story in Ashpet and Ever After,” Children’s Literature 31 (2003): 142–54.

23.   See Thomas Frederick Crane, “The Diffusion of Popular Tales,” Journal of American Folk-Lore, 1 (1888): 8–15; and “The External History of the Kinder- und Hausmärchen of the Brothers Grimm,” Modern Philology 14.10 (1917): 577–610; 15.2 (June 1917): 65–77; and 15.6 (October 1917): 355–83.

24.   David Singh Grewal, Network Power: The Social Dynamics of Globalization (New Haven, CT: Yale University Press, 2008): 3.

Chapter Four. Two Hundred Years after Once Upon a Time: The Legacy of the Brothers Grimm and Their Tales in Germany

Expanded from “Two Hundred Years after Once Upon a Time: The Legacy of the Brothers Grimm and Their Tales in Germany,” by Jack Zipes. Marvels & Tales: Journal of Fairy-Tale Studies, Volume 28, Number 1 (Spring 2014). Copyright © 2014 Wayne State University Press. Used with permission of Wayne State University Press.

  1.   Aleida Assmann, Cultural Memory and Western Civilization: Functions, Media, Archives (Cambridge, UK: Cambridge University Press, 2011): 22

  2.   Jeffrey Peck, “ ‘In the Beginning Was the Word’: Germany and the Origins of German Studies,” in R. Howard Bloch and Stephen Nichols, eds., Medievalism and the Modernist Temper (Baltimore, MD: Johns Hopkins University Press, 1996): 129.

  3.   See Ludwig Denecke and Ina-Maria Greverus, eds., Brüder Grimm Gedenken: 1963 (Marburg: N. G. Elwert, 1963); and Donald Haase, ed. The Reception of Grimms’ Fairy Tales: Reponses, Reactions, Revisions (Detroit: Wayne State University Press, 1993).

  4.   Julia Franke and Harm-Peer Zimmermann, eds. Grimmskrams & Märchendising. (Marburg: Panama Verlag, 2008).

  5.   Harm-Peer Zimmermann, “Grimm in Massen,” in Julia Franke and Harm-Peer Zimmermann, eds., Grimmskrams & Märchendising (Berlin: Panama Verlag, 2009): 16.

  6.   Klaus Kaindl and Berthold Friemel, Die Brüder Grimm in Berlin (Stuttgart: Hirzel Verlag, 2004).

  7.   Harm-Peer Zimmermann, ed., Zwischen Identität und Image: Die Popularität der Brüder Grimm in Hessen (Marburg: Jonas Verlag, 2009).

  8.   Holger Ehrhardt, Dorothea Viehmann (Kassel: Euregio Verlag, 2012).

  9.   Andreas Hedwig, ed., Die Brüder Grimm in Marburg (Marburg: Schriften des Hessischen Staatsarchivs, 2013).

10.   Thorsten Smidt, ed., Expedition Grimm (Leipzig: Sandstein Verlag, 2013).

11.   See Ulrike Marquardt and Heinz Rölleke, eds., Kinder- und Hausmärchen gesammelt durch die Brüder Grimm [1812/1815, Erstausgabe], 2 vols. (Göttingen: Vandenhoeck & Ruprecht, 1986); Hans-Jörg Uther, Kinder- und Hausmärchen gesammelt durch die Brüder Grimm [1819, zweite Ausgabe], 2 vols. (Cologne: Diederichs, 1982); Heinz Rölleke, ed., Kinder- und Hausmärchen gesammelt durch die Brüder Grimm [1837, dritte Aufgabe] (Frankfurt am Main: Deutscher Klassiker Verlag, 1985); Heinz Rölleke, ed., Kinder- und Hausmärchen gesammelt durch die Brüder Grimm letzter Hand mit Originalenanmerkungen [1857, siebte Ausgabe], 3 vols. (Stuttgart: Reclam, 1980); Hans-Jörg Uther, ed., Kinder- und Hausmärchen. Nach der Großen Ausgabe von 1857, textkritisch revidiert, kommentiert und durch Register erschlossen, 7th ed. (Darmstadt: Wissenschaftliche Buchgesellschaft, 1996).

12.   See Heinz Rölleke, ed., Märchen aus dem Nachlaß der Brüder Grimm, 3rd rev. ed. (Bonn: Bouvier, 1983); Grimms Märchen wie sie nicht im Buche stehen (Frankfurt am Main: Insel, 1993); Die wahren Märchen der Brüder Grimm (Frankfurt am Main: Fischer Taschenbuch Verlag, 1995).

13.   Dagmar Kammerer, illustr., Mein großes Märchenbuch (Cologne: Schwager und Steinlein, 2009).

14.   Claudia Blei-Hoch, Das große Märchen Bilderbuch der Brüder Grimm (Stuttgart: Thienemann, 2006).

15.   Rotraut Susanne Berner, Märchen-Stunde (Weinheim: Beltz & Gelberg, 1998), and Märchen-Comics (Berlin: Jacoby & Stuart, 2008).

16.   Armin Abmeier and Rotraut Susanne Berner, Grimmige Märchen: 13 kurze Märchen aus der Sammlung der Brüder Grimm (Augsburg: Maro Verlag, 1999).

17.   Linda Knoch, Praxisbuch Märchen: Verstehen-Deuten-Umsetzen (Gütersloh: Gütersloher Verlagshaus, 2001); Cordula and Reinhold Pertler, Kinder in der Märchenwerkstatt: Kreative Spiel- und Projektideen (Munich: Don Bosco Medien, 2009); and Ute Hoffmann, Die kreative Märchen-Werkstatt (Hamburg: Persen im Aap Lehererfachverlag, 2010).

18.   Nikolaus Heidelbach, Märchen der Brüder Grimm (Weinheim: Beltz & Gelberg, 1995).

19.   Nikolaus Heidelbach, Hans Christian Andersens Märchen (Weinheim: Beltz & Gelberg, 2004), and Märchen aus aller Welt (Weinheim: Beltz & Gelberg, 2010).

20.   Susanne Janssen, Rotkäppchen (Rostock: Hintsorff, 2007), and Hänsel und Gretel (Rostock: Hintsorff, 2009).

21.   Květa Pacovská, Rotkäppchen (Bargtheide: Michael Neugebauer Edition, 2007), and Hänsel und Gretel (Bartgheide: Michael Neugebauer Edition, 2007).

22.   Ulrike Persch, Rotkäppchens List (Bad Soden: Kinderbuchverlag Wolff, 2005).

23.   Peter Hellinger, Wenn das die Grimms wüssten! Neue Märchen zum Grimm-Jahr 2012 (Nürnberg:Art & Words, 2012).

24.   See Mart Klein, Rotkäppchen (Mainz: Unfug-Verlag, 2009).

25.   Theodor Ruf, Die Schöne aus dem Glassarg: Schneewittchens märchenhaftes und wirkliches Leben (Würzburg: Königshausen und Neumann, 1995); and Anna Kühne, Der goldene Mörser (Frankfurt am Main: Fouqué Literaturverlag, 2000; rev. ed., Berlin: Jutribog Verlag, 2008).

26.   René Hemmerling, Total versaute Märchen: Die Brüder Grimm finden das schlimm (Norderstedt: Books on Demand, 2006); and René Hemmerling and Sebastian Grosser, Das Semi-Comic-Märchenbuch, vol. 1 (Nordstedt: Books on Demand, 2007).

27.   Cornelia Funke, Reckless, trans. Oliver Latsch (Boston: Little, Brown, 2010); published in German as Reckless. Steineres Fleisch (Fearless: Stony Flesh) (Hamburg: Cecilia Dressler Verlag, 2010). Funke, Fearless, trans. Oliver Latsch (Boston: Little Brown, 2012); published in German as Fearless: Lebendige Schatten (Fearless: Live Shadows) (Hamburg: Cecilia Dressler Verlag, 2012).

28.   Karen Duve, Grrrimm (Berlin: Galiani, 2012).

29.   Florian Weber, Grimms Erben (Berlin: Metrolit Verlag, 2012).

30.   See Freund, “Cornelia Funke knöft sich reaktionäre Märchen vor,” Die Welt (September 18, 2010), http://www.welt.de/kultur/article9613379/Cornelia-Funke-knoepft-sichreaktionaere-Maerchen-vor. Accessed May 14, 2013.

31.   Grimms Erben, 411.

32.   Sebastian Heiduschke, “GDR Cinema as Commodity: Marketing DEFA Films since Unification,” German Studies Review 36.1 (2013): 65.

33.   See Quinna Shen, “Barometers of GDR Cultural Politics: Contextualizing the DEFA Grimm Adaptations,” Marvels & Tales 25.1 (2011): 70–95; and Jack Zipes, “Between Slave Language and Utopian Optimism: Neglected Fairy-Tale Films of Central and Eastern Europe,” in The Enchanted Screen: The Unknown History of Fairy-Tale Films (New York: Routledge, 2011): 321–48.

34.   Daniel Drascek, “ ‘SimsalaGrimm’: Zur Adaption und Modernisierung der Märchenwelt,” Schweizerisches Archiv für Volkskunde 97 (2001): 79–89.

35.   Kurt Franz and Walter Kahn, eds., Märchen—Kinder—Medien:Beiträge zur medialen Adaptation von Märchen und zum didaktischen Umgang (Hohengehren: Schneider, 2000). See also the book review by Emer O’Sullivan in Perspicuitas. Internet-Periodicum für mediävistische Sprach-, Literatur- und Kulturwissenschaft, http://www.perspicuitas.uni-essen.de.

36.   Steffen Martus, Die Brüder Grimm: Eine Biografie (Berlin: Rowohlt, 2009).

37.   Günter Grass, Grimms Wörter: Eine Liebeserklärung (Göttingen: Steidl, 2010).

38.   Günter Grass, “Spiegel Interview with Günter Grass: ‘The Nobel Prize Doesn’t Inhibit Me in My Writing,’ “ (August 20, 2010). Interview conducted by Volker Hage and Katja Thimm, http://www.spiegel.de/international/zeitgeist/spiegel-interview-with-guenter-grass-the-nobel-prize-doesn-t-inhibit-me-in-mywriting-a-712715.html. Accessed July 2, 2013.

39.   Heinz Rölleke, ed., Die älteste Märchensammlung der Brüder Grimm. Synopse der handschriftlichen Urfassung von 1810 und der Erstdrucke von 1812 (Cologny-Geneva: Fondation Martin Bodmer, 1975).

40.   See Heinz Rölleke, ed., Märchen aus dem Nachlaß der Brüder Grimm, 3rd rev.ed. (Bonn: Bouvier, 1983); Die Märchen der Brüder Grimm (Munich: Artemis, 1985); “Wo das Wünschen noch geholfen hat.” Gesammelte Aufsätze zu den “Kinder- und Hausmärchen” der Brüder Grimm (Bonn: Bouvier, 1985); Die Märchen der Brüder Grimm: Quellen und Studien (Trier: Wissenschaftlicher Verlag Trier, 2000); and Die Märchen der Brüder Grimm: Eine Einführung (Stuttgart: Philipp Reclam, 2004).

41.   Heinz Rölleke, ed., Es war einmal … Die wahren Märchen der Brüder Grimm und wer sie ihnen erzählte, illustr. Albert Schindehütte (Frankfurt am Main: Eichorn, 2011).

42.   Hans-Jörg Uther, Handbuch zu den “Kinder- und Hausmärchen der Brüder Grimm: Entstehung—Wirkung—Interpretation (Berlin: Walter de Gruyter, 2008).

43.   Jens Sennewald, Das Buch, das Wir Sind: Zur Poetik der “Kinder- und Hausmärchen, gesammelt durch die Brüder Grimm” (Würzbrug: Königshausen & Neumann, 2004).

44.   Donald Haase, “Framing the Brothers Grimm: Paratexts and Intercultural Transmission in Postwar English-Language Editions of the Kinder- und Hausmärchen,” Fabula 44.1/2 (2003): 59.

Chapter Five. How Superheroes Made Their Way into the World of Fairy Tales: The Appeal of Cooperation and Collective Action from the Greek Myths to the Grimms’ Tales and Beyond

  1.   Graham Anderson, Greek and Roman Folklore: A Handbook (Westport, CT: Greenwood Press, 2006): 68.

  2.   Susan Ballard, ed. and trans., Fairy Tales from Far Japan (London: The Religious Tract Society, 1899): 50.

  3.   For an informative historical account of the tale, see Klaus Antoni, “Momotarō (The Peach Boy) and the Spirit of Japan: Concerning the Function of a Fairy Tale in Japanese Nationalism of the Early Shōwa Age,” Asian Folklore Studies 50.1 (1991): 155–88.

  4.   See Arthur Ransome. The Fool of the World and the Flying Ship, illustr. Uri Shukevitz (New York: Farrar, Straus and Giroux, 1968); and Valeri Gorbachev, The Fool of the World and the Flying Ship: A Ukrainian Folk Tale, illustr. Valeri Gorbachev (New York: Starbright Books, 1998). See also the remarkable film, The Fool of the World and the Flying Ship (1989), directed by Francis Vose, written by John Hambley, and produced by Chris Taylor. The film was narrated by David Suchet.

  5.   For some of the more interesting books for young readers, see Sechse kommen durch die ganze Welt: Ein Märchen der Gebrüder Grimm, illustr. Jürg Obrist (Zurich: Schweizerische Bibliothek für die Blinden, 1960); Arthur Ransome, The Fool of the World and the Flying Ship, illustr. Uri Shulevitz (New York: Farrar, Straus, and Giroux, 1968); Pat O’Shea, Finn MacCool and the Small Men of Deeds, illustr. Stephen Lavis (New York: Holiday House, 1987); and Valeri Gorbachev, The Fool of the World: A Ukrainian Folk Tale, illustr. Valeri Lavis (Long Island City, NY: Star Bright Books, 1998).

  6.   Jacob and Wilhelm Grimm. The Complete Fairy Tales of the Brothers Grimm, ed. and trans. Jack Zipes, illustr. John B. Gruelle, 3rd rev. ed. (New York: Bantam, 2003): 253.

  7.   Hans-Jörg Uther, Handbuch zu den “Kinder- und Hausmärchen der Brüder Grimm: Entstehung—Wirkung—Interpretation (Berlin: Walter de Gruyter, 2008): 169–71.

  8.   Heinz Rölleke, ed., Es war einmal … Die wahren Märchen der Brüder Grimm und wer sie ihnen erzählte, illustr. Albert Schindehütte (Frankfurt am Main: Eichorn, 2011): 115–52.

  9.   Jack Zipes, The Brothers Grimm: From Enchanted Forests to the Modern World, 2nd rev. ed. (New York: Palgrave, 2002): 80–84.

10.   See the modern edition Johann Wilhelm Wolf, Verschollene Märchen (Nordlingen: Franz Greno, 1988), first published as Deutsche Hausmärchen (Göttingen: Dieterich’sche Buchhandlung, 1851).

11.   Graham Anderson, Fairytale in the Ancient World (London: Routledge, 2000): 72.

12.   Apollonius of Rhodes, Jason and the Golden Fleece, ed. and trans. Richard Hunter (Oxford, UK: Oxford University Press, 1993): xxviii.

13.   Ibid., xxix.

14.   See Giovanni Sercambi, Novelle, vol. 1, ed. Giovanni Sinicropi (Bari: Laterza, 1972): 195–210.

15.   See the appendix for the translation of this tale.

16.   Giambattista Basile, The Tale of Tales, or Entertainment for Little Ones, ed. and trans. Nancy Canepa, illustr. Carmelo Lettere (Detroit: Wayne State University Press, 2007): 267.

17.   Ibid., 271.

18.   Peter Christen Asbjørnsen, Fairy Tales from the Far North, trans. H. L. Bræstad (London: D. Nutt, 1897): 148.

19.   Michael Tomasello, Why We Cooperate (Cambridge, MA: MIT Press, 2008): xv–xvi.

20.   Michael Tomasello, The Cultural Origins of Human Cognition (Cambridge, MA: Harvard University Press, 1999).

21.   Why We Cooperate, 13.

22.   Ibid., 43–44.

23.   Richard Sennett, Together: The Rituals, Pleasures and Politics of Cooperation (New Haven, CT: Yale University Press, 2012): ix.

24.   See Terry Eagleton, “On Meaning Well,” book review of Richard Sennett’s Together, in Times Literary Supplement (April 20, 1012): 8–9.

25.   Edward O. Wilson also emphasizes the significance of cooperation in his book, The Social Conquest of Earth (New York: Norton, 2012).

26.   Christopher Boehm, Moral Origins: The Evolution of Virtue, Altruism, and Shame (New York: Basic Books, 2012): 9.

27.   Ibid., 352.

28.   Mark Pagel, Wired for Culture: The Natural History of Human Cooperation (London: Penguin, 2012): 21

29.   Ibid., 280.

Chapter Six. The Grimmness of Contemporary Fairy Tales: Exploring the Legacy of the Brothers Grimm in the Twenty-First Century

  1.   Heinz Rölleke, “Ein literarischer Welterfolg: Grimms Kinder- und Hausmärchen,” in Expedition Grimm, ed. Thorsten Smidt (Kassel: Sandstein Verlag, 2013): 75.

  2.   See Deutsches Wörterbuch von Jacob und Wilhelm Grimm, eds. Arthur Hübner and Hans Neumann, vol. 4 (Leipzig: S. Hirzel, 1937): 340–63.

  3.   Jens Sennewald, Das Buch, das Wir Sind: Zur Poetik der “Kinder- und Hausmärchen, gesammelt durch die Brüder Grimm” (Würzbrug: Königshausen & Neumann, 2004).

  4.   Ana María Shua, Quick Fix: Sudden Fiction, trans. Rhonda Dahl Buchanan, illustr. Luci Mistratov (Buffalo, NY: White Pine Press, 2008): 164.

  5.   Margo Lanagan, Tender Morsels. (New York: Alfred Knopf, 2008): 6.

  6.   See Heinz Rölleke, Es war einmal … Die wahren Märchen der Brüder Grimm und wer sie ihnen er-zählte, illustr. Albert Schindhütte (Frankfurt am Main: Eichborn, 2011): 347–51. In Clever Maids: The Secret History of the Grimm Fairy Tales (New York: Basic Books, 2005), Paradiž, too, suggests that Wilhelm married Dortchen for her merits as caregiver and house cleaner. “Wilhelm Grimm witnessed Dortchen’s sacrifice for her family with respect and admiration. Her ability to keep her equilibrium in the face of extreme hardship resonated deeply with the Grimms’ own familial values” (114).

  7.   Tom McNeal, far far away (New York: Alfred Knopf, 2013): 9.

  8.   Ibid., 112.

  9.   John Connolly, The Book of Lost Things (New York: Atria Books, 2006): 10.

10.   Ibid., 543–44.

11.   Catherynne Valente, Six-Gun Snow White (Burton, MI: Subterranean Press, 2013): 41.

12.   Ibid., 41–42.

13.   Ibid., 42.

14.   Ibid., 43.

15.   Ibid., 164.

16.   Liz Hoggard, “Helen Oyeyemi: ‘I’m Interested in the Way Women Disappoint One Another,’ “ interview in the Saturday edition of The Guardian/Observer, March 1, 2014. http://www.theguardian.com/books/2014/mar/02/helen-oyeyemi-women-disappoint-one-another.

17.   Carolyn Turgeon, “A Conversation with Carolyn Turgeon,” The Fairest of Them All (New York: Simon and Schuster, 2013): unpaginated at the end of the book.

18.   Adam Gidwitz, A Tale Dark & Grimm (New York: Dutton, 2010): 2.

19.   Ibid., 3.

20.   Adam Gidwitz, In a Glass Grimmly (New York: Dutton, 2012): 316.

21.   Adam Gidwitz, The Grimm Conclusion (New York: Dutton, 2013): 341.

22.   Alice Miller, The Body Never Lies: The Lingering Effects of Cruel Parenting, trans. Andrew Jenkins (New York: W. W. Norton, 2005).

23.   Rikki Ducornet, The Complete Butcher’s Tales (Normal, IL: Dalkey Archive Press, 1994): 139.

24.   Sara Maitland, Far North and Other Dark Tales (London: Maia Press, 2008).

25.   Sara Maitland, Gossip from the Forest: The Tangled Roots of Our Forests and Fairytales (London: Granta, 2012). The American edition published in 2012 by Counterpoint in Berkeley, California, has a different title: From the Forest: A Search for the Hidden Roots of Our Fairy Tales. I am not certain why Maitland made this change, but I prefer the original title.

26.   Ibid., 100–101.

27.   Eva Figes, Tales of Innocence and Experience: An Exploration (London: Bloomsbury, 2003): 182.

28.   Jeanne Marie Beaumont and Claudia Carlson, The Poets’ Grimm: 20th Century Poems from Grimm Fairy Tales (Ashland, OR: Story Line Press, 2003): 258–59.

29.   Ibid., 260.

30.   Ibid., 260.

31.   Ron Koertge, Lies, Knives, and Girls in Red Dresses, illustr. Andrea Deszö (Somerville, MA: Candle-wick Press, 2012): i.

32.   Ibid., 33.

33.   Ibid., 54.

34.   Jane Yolen, The Last Selchie Child (New York: A Midsummer Night’s Press, 2012): 9.

35.   Lawrence Schimmel, Fairy Tales for Writers (New York: A Midsummer Night’s Press, 2007): 8.

36.   Cornelia Hoogland, Woods Wolf Girl (Hamilton, Ontario: Wolsak and Wynn, 2011): 7.

37.   Ibid., 76.

38.   Ava Leavell Haymon, Why the House Is Made of Gingerbread (Baton Rouge: Louisiana State University Press, 2010): 52.

Epilogue. A Curious Legacy: Ernst Bloch’s Enlightened View of the Fairy Tale and Utopian Longing, or Why the Grimms’ Tales Will Always Be Relevant

  1.   “The Fairy Tale Moves on Its Own Time,” in Ernst Bloch, The Utopian Function of Art and Literature: Selected Essays, trans. Jack Zipes and Frank Mecklenburg (Cambridge, MA: MIT Press, 1988): 163.

  2.   Bloch is famous for his three-volume work, Das Prinzip Hoffnung (Berlin: Aufbau-Verlag, 1954–59); The Principle of Hope, trans. Neville Plaice, Stephen Plaice, and Paul Knight (Cambridge, MA: MIT Press, 1986). Among Adorno’s notable works are Dialektik der Aufklärung, written with Max Horkheimer (Amsterdam: Querido, 1947); Dialectic of Enlightenment, trans. John Cumming (New York: Herder and Herder, 1972); Negative Dialektik (Frankfurt am Main: Suhrkamp, 1966); Negative Dialectics, trans. E. B. Ashton (New York: Seabury, 1966); Ästhetische Theorie, ed. Gretel Adorno and Rolf Tiedemann (Frankfurt am Main: Suhrkamp, 1970); Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. Robert Hubert-Kentor (Minneapolis: University of Minnesota Press, 1997)

  3.   For an excellent collection of Adorno’s various essays on the culture industry, see Theodor Adorno, The Culture Industry, ed. J. M. Bernstein (London: Routledge, 1991).

  4.   Actually, Adorno is mistaken about the incidents in this tale. He is referring to Charles Perrault’s “The Foolish Wishes” (“Les souhaits ridicules,” 1694), in which a poor woodcutter is given three wishes by Jupiter. He stupidly wastes the first one by wishing for a sausage. After his wife berates him, he wishes for a sausage on her nose. Finally, as his third wish, he asks that the sausage be removed from his wife’s nose.

  5.   “Something’s Missing: A Discussion between Ernst Bloch and Theodor W. Adorno on the Contradictions of Utopian Longing (1964),” in Ernst Bloch, The Utopian Function of Art and Literature: Selected Essays, trans. Jack Zipes and Frank Mecklenburg (Cambridge, MA: MIT Press, 1988): 1–2. See “Etwas fehlt … Über die Widersprüche der utopischen Sehnsucht. Ein Gespräch mit Theodor W. Adorno (1964),” in Gespräche mit Ernst Bloch, eds. Rainer Traub and Harald Wieser (Frankfurt am Main: Suhrkamp, 1975): 58–59.

  6.   Ibid., 5.

  7.   Ibid., 16.

  8.   Ibid, 16–17.

  9.   Bloch, “The Fairy Tale Moves on Its Own in Time,” 163.

10.   Ibid., 165–66.

11.   Ibid., 168–69.

12.   Ibid., 169.

13.   Ibid., 182.

14.   Ibid., 183.

15.   Ibid., 184.

16.   Louis Marin, Utopics: Spatial Play, trans. Robert A. Vollrath (Atlantic Highlands, NJ: Humanities Press, 1984). See especially, “Utopic Degeneration: Disneyland,” 239–258.

17.   Ibid., 12.

18.   Ibid., 15.