Tag: Cinderella

For Want of a Bathroom: A Modern Fairytale Retelling with a New POV

A fun, playful modern fairy tale reinterpretation exploring the oft-ignored father in the Cinderella story and how he might have felt suddenly living with so many ladyfolk!

For Want of a Bathroom

The sun filtering in through dusty blinds confirms what the dogs next door were already telling the entire neighborhood: the day is officially beginning. Ugh! Every morning with those dogs and their barking.  From beneath my heavy wooden desk, Max looks up at me with wide-eyed disapproval.

“I know – They’re not good boys like you, are they?”

Sighing, I gently place my lukewarm cup of coffee on the wooden desk, trying to savor my last precious moments of calm before the storm. Soon, the house will erupt with clamor and clatter and racket as the girls spill down the stairs, each vying for attention, and, of course, highly coveted bathroom time.

If I hear just one more complaint about somebody stealing somebody else’s makeup or using up all the hot water, – I swear I’m going to shower first, then purposefully let the hot water run down the drain. The make-up can all go in the trash. They don’t need it anyway.

With a grimace, I close my eyes and massage my temples. One bathroom was plenty when it was just the two of us! I should have considered more closely the practicalities of adding three additional females to the family. There are bras everywhere! Each time I turn around, there’s another bra! It’s as if they’re multiplying! Just how many bras does a girl even need!?

Well, an adjustment period is natural for all of us, I suppose. But this house is simply overflowing with femininity.

Remembering the events of last night, my somber frown turns to a grin, and an appreciative snort. It really wasn’t funny, but the looks on my stepdaughters’ faces when Ella bluntly informed them of the purpose of a plunger – I tried to keep a straight face – I really did!

I guess today will include plunging lessons for Payton and Sloane. We should probably all sit down together to discuss bathroom-related chores and scheduling. I wonder if a chore chart would help? We probably still have those gold star stickers stuck in a drawer somewhere. But how to divvy up the responsibilities and duties? I can already hear the whines of “It’s not faaaaaaair!” sung in ringing discordance.

Even my beautiful new wife is not immune from the discontent – every morning, she laments not only the lack of an ‘appropriate’ master bathroom, but also the lack of space in our closet for her expensive designer clothes and her ever-expanding shoe collection. Every time I pull her into me, nuzzling her neck with, “Vivvy – you don’t need all that – you’re beautiful to me whatever you wear!” she just laughs and pushes me away “It’s Vivienne – you know I hate that silly nickname!”

This modest home is full to bursting! But today I’ve a surprise for my girls. All my girls. Each so precious and special in such different ways. I’ve been hard at work planning some additions to the house, and today is the day construction begins. I can’t wait to see their faces! Maybe today will be the first day of no bickering, no snark, and no eye-rolling! Okay that’s probably not that realistic. They are teenage girls. Honestly, even half the current amount of drama would be a miracle.

Expanding the second floor over the garage will not only allow for the addition of a private bathroom and larger closets in the master bedroom, but also – not one, but TWO extra bathrooms! Sure, one will be little more than the size of a closet, but each of my girls shall have a bathroom of her own!

I hear an increase in grumblings and irritable stomping from upstairs, and I gently roll up the blueprints, and prepare myself for the looming hurricane that is living with four women.

At my feet, Max perks up his ears at the crescendo of bickering voices that tumble and bounce down the stairs.

“At least you’re on my side, right buddy?” I ask, scratching his ears affectionately. “We fellas have to stick together.”

As the footsteps cascade into a thunder, and the tempest approaches, Max eyes me dubiously. With a stretch, and twitch of his tale, he scampers toward the door, and I am left alone to face the squall.

Cinderfeminism

Blah blah blah fairy tales and feminism.

The typical fairy tale uses limiting and oppressive sex-role stereotyping.

Fairy tales are often restricted to fulfilling the role of
“fictive conduct manuals for girls, teaching normative values. ”
– Jacqueline Reid-Walsh

When fairy tales portray females in ways that are reflective of the cultural-societal interpretations of women as weak, inferior, or lacking agency, they perpetrate that flawed and damaging perspective.

Females should be portrayed as they are: diverse individuals whose worthiness and value is not defined by masculinity or the lack thereof.  Because traditional fairy tales often reflect the values and perspectives of the patriarchy, they are a frequent target of critique and reinterpretation.

Fortunately, literature has the ability to reclaim these fairy tales by developing female characters into unique figures with their own agency and worth, while promoting feminist perspectives and values.  Through acts of rereading, reclaiming, and redirection, a retold fairy tale can have a substantially positive influence on a reader’s experiences and perspectives regarding feminism.

Gail Carson Levine’s retelling of the Cinderella story, Ella Enchanted is an excellent example of this. 

In this re-imagining, Ella struggles with the fact that she was forced into obedience by a fairy’s curse at birth. Literary portrayals of girls, girlhood, and femininity are frequently consistent with promoting patriarchal and traditional gender roles, and obedience is a large part of that. Historically, viewpoints on obedience and adherence to tradition encourage these values, but in this retelling, strict obedience is depicted as an undesirable and horrifically restrictive trap.

Through Ella’s consistent questioning and creative rebellions, she dispels the assumption that women should be always obedient. She develops her own unique identity, one that asserts her right to be included, and through which she is able to supply valuable contributions to develop and enrich her world. The tale of Cinderella is a common and familiar one,  but this retelling provides more depth and detail about the protagonist as she forges her own path to discover herself and break free of her curse through the use of her own intelligence, power, and creativity.

Oppression is not always familiar, recognizable, or visible, but we can give ourselves the power of the freedom to make our own choices. Like Ella.

Ella Enchanted is easy to relate to because it provides a universe that is similar to one we have already experienced, and shares many patterns and connections to the traditional Cinderella story.

However, it refreshingly includes a great deal more in the way of explanations, possibilities and self-driven opportunity.  It is a great example of a way to challenge a reader to see beyond more simplistic explanations and search for new perspectives and explanations.

Because the concrete universe has already been established, by telling the same tale from a new perspective, new questions can be unearthed, alternate mindsets discovered, and previously unconsidered horizons can be expanded.  The author and the reader can construct the structure and meaning together, and Levine seamlessly incorporates her structural detail into each aspect of the story:

“We don’t dig the foundation after the house is built.”
-Lloyd Alexander

This structure and interconnectivity encourages imaginative exploration as well as addresses very real concepts, dilemmas, and threats.

Levine’s reassuring attention to detail grounds the story and characters in reality.  I mean, was there really only one girl in the entire kingdom whose feet could fit the glass slippers?! Seems unlikely!  Thankfully, n Ella Enchanted, Ella’s rare fairy ancestry (in Levine’s mythology, fairies have significantly smaller-than-average sized feet) is responsible for the fact that the slippers fit only her.  Thank goodness for this solid structural attention to detail that made the story infinitely more believable! Each explanation was logical within the framework Levine created and expanded upon.  And each supportive and believable detail just drives home the believability and truth of the positive feminist ideas and messages.

This conceptual transference into the real world is inspiring and congruent with the idea that

“children’s literature can provide sources of comfort and pleasure, models for behavior, and identity, reflections of self and reality, and visions of better or less painful possibilities.”
– Eric Tribunella

If someone as seemingly average and insignificant as Ella can create such a vast and positive impact, surely this will inspire those who read about her to feel hope and optimism that they, too, can overcome significant challenges and obstacles to create a positive impact on themselves and the world around them.

This structural integrity is also applied to the characters within Levine’s constructed world.  While female characters may often seem to be portrayed as developed individuals in many books, they still often accept (succumb to) traditional gender roles.  Ella’s character is so refined and developed that this is specifically addressed in the final chapter.  While she does marry the prince, becoming a wife and a mother, she refuses to let those terms alone define or restrict her:

“I refused to become a princess, but adopted the titles of Court Linguist and Cook’s Helper. I also refused to stay at home while Char traveled, and learned every language and dialect that came our way.”
-Ella (Gail Carson Levine)

Ella retains her unique identity and refuses to be bound by limiting conventionalities while ALSO acknowledging that this does not necessarily require the rejection of her own values and desires that happen to be consistent with traditional female roles.  She has the power to choose. She doesn’t reject traditional female roles just out of spite, she keeps the aspects, ideas, and roles that she values.

Ella is an ordinary hero and her defining battle, like many of ours, is fought internally.  Conflict and change are dynamic elements of any story, and the primary conflict in a fantasy or fairy tale is often a large-scale, complicated, cosmic quest or physical battle

But, as in this case, the conflict-response behavior of a single person is just as meaningful and has just as much of an impact. 

While internal conflicts such as the one found in Ella Enchanted may seem to lack cosmic significance, the mental and emotional adventures and battles still have consequences that are cosmically momentous to the characters experiencing them.  And this consequential impact, while it may seem small-scale, has the potential to have a much larger-reaching affect on the world in many ways.

Ella is a self-rescuing hero whose outwardly small triumph affects the entire kingdom, ultimately saving many more – monumental results stemming from seemingly insignificant beginnings. You don’t need a confrontational ninja battle or an evil uncle with a talking snake and a devious plan to depose the prince, (***LOOKING AT YOU ELLA ENCHANTED MOVIE***) for the story to be meaningful, relatable, or enjoyable.

⇒ For more about Ella Enchanted:

Ella Enchanted and Being an Ordinary Hero

Literature and all forms of storytelling have an immense impact on society and the assumptions about a woman’s characteristics, roles, and overall place in the world.  Literature seems to frequently struggle with how to portray feminism and equality. Even when a protagonist is female, the story itself may not be in line with feminist ideas.

To determine whether or not a work of children’s literature can be deemed feminist in nature, there are a variety of aspects to observe and analyze.  A close reading of the text and illustrations is necessary.  Does the way the character is depicted take advantage of or conform to unhealthy gender stereotypes?  Do the things the character says reaffirm typical gender roles and inequalities or do they support female worthiness, value, and empowerment?

Movies have a way to evaluate gender bias and positive female representation – it’s called the Bechdel test.  To pass this test, a movie has to meet these three requirements:

  1. Two female characters (preferably named),
  2. Who talk to each other,
  3. About something other than a man.

It’s not perfect, but it IS eye-opening!

“Why the Bechdel Test Fails Feminism”:
https://www.huffingtonpost.com/anna-waletzko/why-the-bechdel-test-fails-feminism_b_7139510.html

Why is the original Cinderella story acceptable, but if genders were switched, it would be deemed unacceptable, as in the below version of Cinderella, CinderFELLA?

Even though Ella is the main character in her own Cinderella story, she is limited severely by a number of barriers and restrictions. She fulfills both powerful and powerless roles, sometimes simultaneously.  She both speaks, and is silenced, she acts, and is acted upon, she fights for honor, but also suffers.

In the end, through her journey, she becomes someone who does indeed have the freedom to act as she chooses and make her own decisions.  However, this culmination is a difficult one full of strife and struggle in many forms.  Through her struggle towards understanding of her own role as a female, a reader can gain insight into reciprocal and familiar struggles in their own life, especially those regarding gender and gender roles.

“gender has historically (whether overtly or covertly) been a tool of negotiation between our understandings of bodies, and meanings derived from and attributed to them.”
– Erica Hately

We have access to the the power to use this tool to shape and promote certain viewpoints and perspectives. Literature often reflects and shapes peoples’ understandings of themselves and others and the associated gendered identities, usually in adherence with the

“specific binary logic of gender relations, which historically subordinated the feminine to the masculine.”
-Erica Hately

Like traditional binary gender roles, fairy tales have been around for a long time.  And like interpretations of acceptable gender roles, fairy tales continue to change and grow over time.  Ella Enchanted is a distinctive example of a retold fairy tale, still attached to a familiar and long-standing framework, that promotes changing perspectives on both of these ideas.

This story is valuable in so many ways, especially because it addresses the real-life issues of the importance of being strong by making your own decisions, standing up for what you believe in, and the worth of sacrifice in relation to love and the protection of those you love.

I’ve said it before, but I would tell everyone I know to read this book, and if they were Ella at the beginning of her story, they would be forced to obey.

As it is, both she and everyone else, has the freedom to choose:

“Decisions were a delight after the curse. I loved having the power to say yes or no, and refusing anything was a special pleasure.”
-Ella (Gail Carson Levine)

References/For further reading!

Alexander, Lloyd. (1981). The grammar of story. In Betsy Hearne and Marilyn Kaye (Eds), Celebrating children’s books: Essays on children’s literature in honor of Zena Sutherland. (pp. 3-13). New York: Lothrop, Lee, and Shepard Books.

Hately, Erica. (2011). Gender. In P. Nel & L. Paul (Authors), Keywords for children’s literature (pp. 86-92). New York: New York University Press.

Meek Spencer, Margaret. (2003). What more needs saying about imagination? In Reading research quarterly (Vol. 38, pp. 546-551).

Reid-Walsh, Jacqueline. (2011). Girlhood. In P. Nel & L. Paul (Authors), Keywords for children’s literature (pp. 92-95). New York: New York University Press.

Tribunella, Eric L. (2011). Boyhood. In P. Nel & L. Paul (Authors), Keywords for children’s literature (pp. 21-25). New York: New York University Press.

Whitley, D. (2000). Fantasy narratives and growing up. In Eve Bearne and Victor Watson (Eds), Where texts and children meet. (pp. 172-182.) New York: Routledge Press.

Zipes, Jack. (1999). Hans Christian Andersen and the discourse of the dominated. In When dreams came true: Classical fairy tales and their tradition (pp. 80-110). New York: Routledge.

Also… this picture, created by ImEevee in Spain, is amazing.

https://www.redbubble.com/people/imeevee/works/25119610-space-book?grid_pos=1&p=poster&rbs=05a22953-5ea0-49f3-b4a5-c54b5b63d990&ref=shop_grid

Feminist Fairy Tales: Research Problem Statement

…cause everyone LOVES reading research papers!

Feminist Fairy Tales and Retellings of Empowerment

The original and conventional fairy tale most frequently portrays its females in ways reflective of the cultural and societal interpretations of women as weak, inferior, or lacking agency, placing their value solely on their relationship with a man: “Girls and women play dead or doormats (as in ‘Snow White’, Cinderella,’ and ‘Sleeping Beauty,’) or are severely mutilated (as in ‘The Little Mermaid’)” (Paul, 1999, p. 117). Instead of including and representing women as unique individuals in their own right, sex-role stereotyping is used to portray female characters as characters whose worth is defined in terms of masculinity or the lack thereof.  Because traditional fairy tales often echo and amplify patriarchal values and perspectives, they are a frequent target of critique and reinterpretation, especially from a feminist perspective. Children’s literature has the ability to reclaim these fairy tales by developing the female characters into unique and diverse figures with their own agency and worth as well as portraying and promoting feminist perspectives and values.

While there are certainly a variety of examples of feminism to be found in every category and genre of literature retellings of fairy tales are unique in their ability to reclaim outdated and outmoded themes and stories.  Because they tell and reimagine an already familiar tale, the staid obsoleteness can be developed into a more relevant tale capable of both maintaining the original meaning, and supporting more forward-thinking perspectives that “provide sources of comfort and pleasure, models for behavior, and identity, reflections of self and reality, and visions of better or less painful possibilities” (Tribunella, 2011, p. 25).  Fairy tales introduce a somewhat predictable framework that is quickly and easily graspable by children and models simplistic ideas about identity and reality.  Retold fairy tales can develop the simple and familiar landscape into new stories, viewing the same ideas from new angles to produce more accurate and positive views of a variety of concepts and roles.  While new ways of supporting these perspectives are constantly being developed and explored, this is a particularly powerful and relevant way feminism is explored and reclaimed. Classic fairy tales, which typically feature limited, powerless, and one-dimensional female characters with little to no agency or character development need more empowering retellings.

While recent interpretations of fairy tales are portraying more and more progressive female characters and protagonists, there is still a sad lack of including developed females in modern fairy tale retellings, and feminist theory insists on “the right to be included but not just as an honorary white man” (Paul, 1999, p. 113), but as a valuable person in their own right.  Representations of strong female characters congruent with feminist ideals are crucial to the healthy development of young girls into confident young women. Retold fairy tales that feature female characters in a positive and empowering ways have the power to positively affect perspectives of femininity.  This positive affect is not limited to females only. Staid and traditionally patriarchal gendered identities are usually congruent with the “specific binary logic of gender relations, which historically subordinated the feminine to the masculine” (Hately, 2011, p. 87). Historically prevalent literary representations of gender have subscribed to the patriarchal binary and constructed and promoted restrictive models of femininity and masculinity that are ultimately inaccurate, unhelpful, and damaging.  Feminism is integral in producing gender representations in children’s literature that is more accepting and empowering for both males and females.  Increased exposure to female-centered books educate and benefit boys versus girls in many ways, and books with powerful female characters have the potential to help both females and males feel more acknowledged and comfortable, as well as inclusive and positive toward others.

Accurate and affirming female representation in literature is constantly changing over time.  This is extremely apparent when looking specifically at fairy tales and comparing original tales to more modern interpretations based on these original fairy tales. This positive and affirming representation is on the rise, but needs to be encouraged through education and information in order to maximize the societal benefits. It should be noted that a feminist retelling of any kind doesn’t need to eliminate any and all female characters in traditionally, socially, or culturally feminine roles. What is needed is an admission of the agency of female characters in choosing their own path and having value of their own, unconnected from a man.  A more equal representation of strong and empowering, identifiable and variable roles and narratives for women is required.  While identification equality has improved, the ways we communicate effectively about feminism and equality in children’s literature should continue to be emphasized in order to correct the historical imbalance.

While there are many theoretical perspectives from which this topic can be considered, the primary viewpoint used in assessing this imbalance will be that of Feminist criticism.  Fortunately, this critical theory is adept at incorporating key aspects of many various theories as well as relevant and applicable to each of them in turn.  This social construction of the patriarchy, which “promotes the belief that women are innately inferior to men” (Tyson, 81) through many avenues, both overt and discreet, such as words, body language, tone of voice, facial expressions “creates the failure that it then uses to justify its assumptions about women” (Tyson, 2015, p. 83). It is a patriarchal construction that is vastly apparent in many examples of children’s literature, but particularly in fairy tales.  Because fairy tales can provide guidelines for both boys and girls that teach normative values, it is important to look at the literature being published through a feminist lens in order to observe and evaluate the accuracy and helpfulness of the messages being presented – do they promote patriarchal standards and traditional gender roles, or do they promote equality and feminine empowerment?

Feminist criticism examines “the ways in which literature and other cultural productions reinforces or undermines the economic, political, social, and psychological oppression of women” (Tyson, 2015, p. 79) in these works of literature.  The adaptability, flexibility, and comprehensive nature of feminist critical theory makes it an impressively thorough and versatile tool with which to observe children’s literature.  It is capable of utilizing a variety of theoretical perspectives and taking advantage of the most useful aspects of those perspectives while disregarding the more irrelevant and outdated components. Patriarchal conditioning is destructive for men as well as women, which is why it is so important to encourage positive role models, both female, and male, in children’s literature, such as these retold fairy tales. While feminist theory is an “interdisciplinary theory that can connect divergent thought” (Tyson, 2015, p. 90), and can, indeed, adapt and assimilate ideas from other theoretical critiques and disciplines, this must be done with caution because so many of these critical theories and ideas are deeply entrenched in patriarchal frameworks that emphasize male experience and power. Extracting the merits from the engrained patriarchal perspective can be a dauntingly difficult process, but it can be done.

There is a vast deal of interconnectivity between feminist critical theory and many other critical theories.  Feminist criticism can incorporate diverse aspects from a variety of theories and perspectives, including postcolonial criticism, and lesbian, gay, and queer criticism.  These critical theories are all alike in their goals of deepening understanding, as well as being closely aligned with the idea of “providing a welcoming climate for texts by people marginalized by patriarchal colonial societies” (Paul, 1999, p.114).

Similar to feminist criticism in many ways, postcolonial criticism possesses a unique hybridity as well as the potential to be applied to any marginalized or oppressed group of people typically found being dominated, such as children, women, persons of color, the poor, and more.  It is a discourse that sheds light on “ways in which authority over the ‘other’ is achieved in the name of protecting innocence” (Paul, 1999, p. 120). Both discussing and understanding people perceived as inferior and emancipating them in order to return their power and worthiness in society’s eyes is incredibly consistent with feminist ideas. In traditional fairy tales, females, as well as those classified as ‘other,’ are routinely stripped of their own identities.  Postcolonial critical theory views these discrepant power dynamics and portrayals in new light through a variety of theoretical approaches, which makes it, just like feminist critical theory, extremely versatile and effective in its broad application.  The perspective of lesbian, gay, and queer criticism also explores portrayals of marginalized individuals and the dynamics of power in society. Literary interpretations in this critical theory also deal with similar recurring themes of marginalization and ‘otherness.’

Popular retellings of fairy tales continue to explore and expand on ideas consistent with these critical theories by introducing strong and developed characters in familiar narratives.  Reworking a fairy tale takes work, but fortunately, the familiar nature of a fairy tale provides a strong and solid basis on which to build upon.  With structure, imagination and applied alternative viewpoints, classically traditional fairy tales can be developed and transformed into entirely unique constructions.  Retold fairy tales have a structural advantage in the creation of their retellings, because they already have the base of their world constructed, and can build upon those “identifiable and workable laws underpinning it” (Yolen, 1996, p. 173). Because the concrete universe has already been established, the same tale can be told from a new perspective, spurring on critical thinking, new questions, and the expansion of previously unknown horizons.

Building on a familiar universe, but including additions of explanations, possibilities, developed characters to create a solid feminist message is epitomized in Gail Carson Levine’s Ella Enchanted. This book is a prime example of challenging readers to look beyond simplistic and repetitive explanations to search for more meaningful perspectives.  In contrast to the traditional Cinderella story, Ella becomes, through her own strength of will, her own knight in shining armor.  She saves herself, her princes, and her entire kingdom.  In Levine’s retelling, there is substantially more depth and detail about the protagonist and her quest to break the curse herself, and discover herself in the process.  Her story is applicable to many real-life situations and encourages the questioning of blind obedience, the value of making your own decisions, the importance of standing up for what you believe in, and the strength and courage of making sacrifices to protect the people you love.  Such depictions of self-rescuing female heroes can inspire readers that they, too, have the power and strength to overcome challenges and obstacles in their lives.

Gail Carson Levine may not have intended that Ella Enchanted become an icon of feminism, the book as well as the title character have certainly become empowering and inspirational to many readers, never losing its relevance to feminism. The book’s message of encouragement to be an independently powerful woman and refusing to be confined by obedience, never lessens in its impact.  It both encourages and emboldens readers to be true to themselves and confidently pursue their dreams and ambitions, however unconventional those may be.  Oppression is not always familiar, recognizable, or visible, but, like Ella discovers, we can give ourselves the power of the freedom to make our own choice.

This message of freedom is accessible in its relevance to many.  Ella’s depth of character and the powerfully realistic and relatable message combine to portray the importance of internal battles, as well as external.  The main conflict in Levine’s book is simply the struggle between one seemingly insignificant girl and the unwarranted and random restrictions to which she finds herself bound.  Her inner strength and conviction communicate a resourcefulness easy to admire and aspire to in the struggles and challenges of the real world.  While this retelling of Cinderella deviates from the original substantially, its feminist message is one that accentuates the positives of the original, while decreasing the negative associations.  The alterations are minimal, but they drastically contribute to a vastly more positive and empowering message for readers.

Wildwood Dancing by Juliet Marillier deviates from the original tale quite a bit more than Levine’s Ella Enchanted. The story is unrecognizable in many ways. A primary alteration is the reduction of the number of sisters from twelve to five. As a result, each sister is afforded the attention on their individual characters instead of representing mere place-holder personalities with little to no character development. It would be difficult to delve completely into the character of each sister if there were so numerous.  This way, the reader can more easily connect to and distinguish between the sisters as they each have their own unique characteristics.

Not only are individual characters more fully formed, but the relationships are more fully formed as well.  The included romances are fleshed out and seems more natural and realistic, each developing organically through genuine connection and believable interaction.  In addition, romantic relationships are not the focus.  The story is primarily about the importance of family, the strong relationships between the sisters, and the sisters discovering their own agency rather than being caught by a male power.  The book has a strong feminist message, one that is rare in most classic fairy tales.  Furthermore, this telling has the second sister as the protagonist, emphasizing the removal of typical fairy tale restrictions and tropes, as in such fairy tales, it is invariably the oldest or the youngest sister who receives the primary narrative attention.  By breaking from this needlessly restrictive tradition, the message can be appreciated by a greater range of readers, those typically excluded, or overlooked, just as females tend to be in general.

A frequently retold fairy tale is that of Rapunzel.  Donna Jo Napoli’s Zel, and Cameron Dokey’s Golden approach this classic tale in vastly different ways, while still accentuating vastly similar themes and ideas.  Donna Jo Napoli’s Zel updates the Grimm brothers’ Rapunzel in ways that enhance and amplify the original message and delve more deeply into the characters and their relationships.  Napoli revitalizes the Rapunzel story with her plural narrative, realistic behavior patterns, and insightful relationship depictions, allowing the tale to resonate more believably with modern value systems.  The detailed character development enhanced the story and provided more satisfying character interactions and empathy for their thoughts, feelings, and actions.   The Grimm brothers’ version doesn’t make any mention of Rapunzel’s parents after she is taken away, and their Rapunzel is perfectly content to live alone in a tower. but Napoli’s Rapunzel reacts more realistically, growing depressed, panicked, frantic, miserable, and angry by turns.   The reader can see the goals, desires, and motivations of each of the characters, in a display of imaginative literature that discloses “alternative ways of being in and thinking about the world” (Meek-Spencer, 2003, p. 547).

Golden by Cameron Dokey takes a different view of the Rapunzel story. This retelling of Rapunzel turns the traditional tale completely on its head, provoking questioning of the entire tale.  The main character isn’t technically even Rapunzel. Or is she?  It is a story of how two girls come to terms with their own limitations and strengths to accept their unique identities and defining features for what they truly are.  This retelling explores questions not only of identity, but also of what it means to be a girl in terms of the body and physical features.  Depictions of the body in shape their perceptions of what a natural body should look like.  The relationship between the body and gender has “historically (whether overtly or covertly) been a tool of negotiation between our understandings of bodies, and meanings derived from and attributed to them” (Hately, 2011, p. 86). Golden provides a positive portrayal of girls with marginalized bodies, encouraging a more accepting perception of diversity and an understanding, tolerance, and celebration of those with a body shape that is in some way different.  The ability of literature to shape human behavior, power structures, and ideologies is exemplified here in the explicit acceptance of girls and their value regardless of their physical appearance.

The effects and promotion of feminist children’s literature, particularly the representation of empowered female characters in retold or reclaimed fairy tales is one that necessitates further exploration through a closer looking at various retold fairy tales such as Ella Enchanted, Wildwood Dancing, Zel, and Golden. In order to ascertain how representations of positive and empowering females affect children’s perspectives of femininity, and discover how these affirming representations can be encouraged and improved further study is needed, especially the instigation of a research survey looking at peer-reviewed articles about and reader responses to feminist perspectives in retold fairy tales.  With the combination of primary source material and scholarly sources obtained through research methods and databases, these books can be assessed as to their efficacy in teaching about key feminist concepts, improving acceptance and positive attitudes in readers towards females, and increased self-esteem based on increased positive representation for females.

Literature has an immense impact on society and the understanding of assumptions about a woman’s characteristics, roles, and overall place in the world. Not only are female characters frequently lacking from the majority of children’s literature, the books that do feature female characters may not meet the requirements of feminism as far as promoting positive portrayals of femininity or equality of the sexes.  To determine whether or not a work of children’s literature can be deemed feminist in nature, there are a variety of aspects to observe and analyze and a close reading of the text and illustrations is necessary.  What is important in these works is that the characters are portrayed, in words and image, as strong, capable, and worthy, regardless of their gender, and that harmful stereotypes are not used to influence perception of limiting gender roles.

Reclamation of fairy tales in particular “seem to have enjoyed the most dramatic revival as a result of twinned interests in women’s studies and children’s literature studies, (Paul, 2005, p. 121),” there is still farther to go. Children’s literary portrayals of girls, girlhood, and femininity have historically been consistent with promoting the patriarchal and traditional gender roles. Even female characters who begin by representing atypical or rebellions gender behaviors often grow up to “accept and extol conventional female norms” (Reid-Walsh, 2011, p. 93).  This reinforcement of patriarchal ideals is blindingly evident in when examining traditional fairy tales.  Fortunately, as attention is called to the significant lack of empowering feminist characters and messages in children’s literature, more books, both fiction and non-fiction, are emerging, and the discussion about the importance of feminist literature, especially for children, has also become noticeably more prevalent. It is this prevalence that can be observed very effortlessly in the retold fairy tale, and one that merits further investigation into its impact on communicating and understanding feminist ideas.

References

Alexander, Lloyd. (1981). The grammar of story. In Betsy Hearne and Marilyn Kaye (Eds), Celebrating children’s books: Essays on children’s literature in honor of Zena Sutherland. (pp. 3-13). New York: Lothrop, Lee, and Shepard Books.

Conli, Roy (Producer), & Greno, Nathan (Director). (2010). Tangled [Motion picture]. United States: Walt Disney Pictures.

Crew, H.S. (2002) Spinning New Tales from Traditional Texts: Donna Napoli and the Rewriting of Fairy Tale. In Children’s Literature in Education (Vol. 33, pp. 77-96).

Dokey, Cameron. (2006). Golden. New York: Simon Pulse.

Dudek, Debra. (2011). Multicultural. In P. Nel & L. Paul (Authors), Keywords for childrens literature(pp. 155-160). New York: New York University Press.

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Ella Enchanted and Being an Ordinary Hero

One of my ultimate favorite fantasy books as a child, and still today, is the reworked fairy tale, “Ella Enchanted” by Gail Carson Levine.  It retells the classic literary fairy tale of Cinderella with some new twists: Ella is, in fact, under a fairy’s gift (curse) to always be obedient.  The tale is a familiar one, but provides more depth and detail about the protagonist and her own journey to discover herself and break the curse herself.  In addition, it answers that question that was always infuriating to me about the size of Cinderella’s feet – surely there was more than one girl in the kingdom whose feet could fit the glass slipper!  Well, in this story, Ella has fairy ancestry, and fairies have significantly smaller-than-average sized feet, so THERE!  Levine’s attention to details such as these really grounded the story and made it more believable to me – it was definitely logical and made sense within the framework she created and expanded upon. While it certainly shares many patterns and characteristics with both more traditional fairy tales as well as reworked fairy tales, this is by far my favorite retelling of Cinderella.  I like that it addresses the real-life issues of the importance of being strong by making your own decisions, standing up for what you believe in, and the worth of sacrifice in relation to love and the protection of those you love.

“Ella Enchanted” provides a universe that is similar to one children have already experienced, but includes a great deal more in the way of explanations, possibilities and self-driven opportunity.  It is a great example of a way to challenge a reader to see beyond more simplistic explanations and search for new perspectives and explanations.  A retold fairy tale is a great example of this, because the concrete universe has already been established, and by telling the same tale from a new perspective, new questions can be unearthed, alternate mindsets discovered, and previously unconsidered horizons can be expanded.  This particular retelling is also consistent with the idea of concepts carrying over from the fantastical worlds to the real ones.  In “Ella Enchanted,” Ella is a real girl with a flaw that she has to work to overcome.  This is certainly a concept that is applicable to many people.  While Ella may not fit the traditional archetype of ‘hero,’ she is still heroic.  She becomes, through her own strength of will, her own knight in shining armor – in the process, saving herself, her prince, and the entire kingdom.  If someone as seemingly average and insignificant as Ella can create such a vast and positive impact, surely this will inspire those who read about her to feel hope and optimism that they, too, can overcome significant challenges and obstacles to create a positive impact on themselves and the world around them.

Fairy tales have been around for a long time.  And with each retelling, they have continued to change and grow ever since their inception.  “Ella Enchanted” is a distinctive example of 21st century fantasy with an alternate world that is still attached to a familiar and long-standing one.  While it may lack the grandeur of Tolkien, or the epic tragedy of Rowling, it is accessible in its realism and its message – one that, while not political or catastrophic, speaks to the more personal internal battles that still must be fought and are no less important than those larger-than-life clashes between good and evil.  “Ella Enchanted” has no evil villain to be abolished or grand quest to be completed.  There are good characters and bad characters, but the main struggle is simply one between a girl and the unwarranted chance restrictions and conditions to which she finds herself bound.  Ella is ordinary, but she is strong.  And it is that kind of inner strength and conviction that is an amazing resource in struggling through such challenges as anxiety, depression, and insomnia.

Read it.  Or else.

(If you were Ella, you’d HAVE to obey me, but as it is, you have the freedom of choosing.)

I’ve had this copy for NINETEEN YEARS! I think it looks pretty good considering how many times I’ve read it!

Fol-De-Rol and Fiddle Dee Dee

The Final Writing Assignment

(For this class anyway…)

FIRST PARAGRAPH:

“Fol-de-rol and fiddle dee dee and fiddley faddley foddle
all the wishes in the world are poppy cock and twoddle.
Fol-de-rol and fiddle dee dee and fiddley faddley foodle
all the dreamers in the world are dizzy in the noodle.”

This is what the sensible people of the world say, according to Cinderella’s fairy godmother in the Rodger’s and Hammerstein’s musical in a song they sing together about Cinderella’s wish to go to the ball.  But together, they discover by the end of the song, that “impossible” can be changed to “it’s possible” with creativity, imagination, hard work, and someone who loves you to help.  Like Cinderella and her fairy godmother, I am learning and exploring how to grant my own wish of forging a career doing what I love: writing, being creative, and helping others.  I don’t yet know what that career will be exactly, but every day I am making choices to steer myself down the path to get there.  And I plan to use every tool and asset I have to help shape my wish out of the supplies I have.  And with a little help, and a little magic, I know I will get to the ball!

SUMMARY:

Turning the impossible to the possible is a process – one that requires many things.  It requires creativity and imagination.  Every day, I am thinking and brainstorming, searching for different ways to achieve my goals.  I am on the lookout for new opportunities to embrace that will keep me moving forward, eyes focused on the path ahead. It requires commitment, dedication and hard work. Sometimes the path is thorny, or blocked by a tree.  I continue to apply my imagination to identify creative and efficient solutions to remove such obstacles.  It requires bravery, and it requires stepping out of your comfort zone.  There is a certain degree of anxiety about the uncertainty of where the path leads, but you can’t turn back. It also requires help and support. Not all of us have a fairy godmother to turn our everyday objects into the perfect materials to achieve our dreams.  But we do have people who love us. Asking for help is scary and hard, but it is something I plan on practicing. Most of all, it requires hope, and I plan on keeping that hope alive, nurturing it, and seeing it bloom and grow into something even more beautiful.

“But the world is full of zanies and fools who don’t believe in sensible rules
and won’t believe what sensible people say..
and because these daft and dewey eyed dopes keep building up impossible
hopes impossible things are happening every day!”