Under the Slippers

Under the Slippers

A review of Sarah Pinborough’s Charm: A Wicked Cinderella Tale (Titan Books, 2015)
By Derek Newman-Stille

What does it mean to live your whole life imagining court life and fantasizing about princes and castles only to be offered everything you’ve always wanted? What does it mean to grow up in a household where your stepmother and stepsisters come from noble bloodlines but you come from more humble origins? Is beauty or noble blood more important?

Sarah Pinborough’s Charm transforms the quintessential Love at First Sight story into a gothic romance, populated with hidden truths, secrecy, locked doors with hidden keys, curiosity, jealousy, dusty old turrets, and dark corridors hung with cobwebs. Pinborough explores the darker side of Cinderella, warning her readers of the danger of getting everything you wish for and pointing out that sometimes the dream is better than the reality you dream of. 

Pinborough highlights the potential problems of Cinderella’s magic slippers, pointing out the issues of consent for a Prince who has been forced by magic to fall in love with a woman that he couldn’t even recognize outside of her slippers. She asks what happens when the slippers come off and the prince goes back to his non-spell-addled self. Court life isn’t the dream that Cinderella imagined and full of a lot more darkness than she had envisioned. Just like her slippers, Cinderella is about to discover that her imagined perfect life is nothing more than outer dressings.

To discover more about Sarah Pinborough, visit https://sarahpinborough.com/

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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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