One Drop at a Time

A review of Sarah Pinborough’s Beauty (Titan Books, 2015)

By Derek Newman-Stille 

In Beauty, Sarah Pinborough draws on the dark ink of multiple fairy tales, pulling them together into a cauldron to remake them into a new tale with a twist. She draws together resonances between traditional stories, looking for those murky edges where they can connect together, weaving a tapestry between Sleeping Beauty, Beauty and the Beast, Rapunzel, Red Ridinghood, and Rumplestiltskin and pulling together their grim possibilities. 

Pinborough twists these tales, leaving threads of familiarity for her readers, but weaving them into a new, uneasy tale.

Pinborough challenges some of the characteristics that people frequently associate with fairy tales, using the voice of her Little Red Ridinghood character to call attention to the difference between peasant narratives and those of nobles, drawing attention to the problematic ideas of consent around the kissing of a Sleeping Beauty, pointing out the dangerous nature of love-at-first-sight and its relationship to ideas of control. Beauty invites questions about wishes and the danger associated with getting the things you ask for. It points out the dangers of privilege. It plays with the allure of magic and the complications that come with power. Beauty is a tale of warnings and an invitation to constantly ask questions, particularly when things seem to come far to easily. 
To discover more about Sarah Pinborough, visit https://sarahpinborough.com/

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Goosed Into The Truth

Originally posted on Speculating Canada, here is my review of Tim Wynne-Jones’ The Goose Girl.

Speculating Canada: Canadian Horror, Science Fiction, and Fantasy

Goosed Into The Truth
A review of Tim Wynne-Jones’ “The Goose Girl” in Black Thorn, White Rose Edited by Ellen Datlow and Terri Windling. Prime Books: 1994

By Derek Newman-Stille


Tim Wynne-Jones’ “The Goose Girl” is a re-telling of the Grimm Brothers’ tale of the same name, but it is also a discussion of the nature of re-tellings and of the nature of “truth” itself.. His story is told from the perspective of the Prince, who narrates his encounter with the young princess and the chambermaid. As in the Grimm Brothers narrative, the princess and chambermaid switch clothes before the castle and the prince assumes that the chambermaid is the princess he is supposed to marry and that the young princess is a peasant girl, who he finds work for as a goose girl. The prince is deceived by a change of clothing and has to uncover the truth through…

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The Art of The Emperor’s New Clothes

Over the Rainbow: Folk and Fairy Tales from the Margins

The Emperor’s New Clothes is an intensely visual tale, exploring ideas of dignity, performance, and the ostentatiousness of royalty. But, fundamentally, it is about what is not there – the absence of art, the absence of clothing.

Clothing is a way that we perform our identity, the way that we illustrate who we are. It is an art that is linked to identity. The Emperor in the tale is caught between the power of the spoken word to create clothing (by describing it and convincing the court of the presence of the clothing), yet the clothing is not physically present. It is not something that exists except in the descriptive sense.

Art work about The Emperor’s New Clothes is simultaneously about what is there and what is absent.

Harry Clarke

(from Fairy Tales by Hans Christian Andersen, New York: Brentano’s 1916)

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Clarke portrays the Emperor as a mix of nudity…

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