Aarne-Thompson-Uther index.
The price the Virgin demanded was purity, and the way the educators of Catholic children have interpreted this for nearly two thousand years is sexual chastity. Impurity, we were taught, follows from many sins, but all are secondary to the principal impulse of the devil in the soul – lust.
The vocabulary of pleasure depends on the imagery of pain.
The tales are quite hard to remember and I found that going back to it between bouts of writing fiction, I was having to retrace my steps quite a lot, because the stories are very intricate and the material is elusive, and possibly with age, my memory is not as malleable as it used to be.
The more one knows fairy tales the less fantastical they appear; they can be vehicles of the grimmest realism, expressing hope against all the odds with gritted teeth.
The stories are most often about justice. In her stories, those who commit injustice, or act tyrannically, come to no good. They are punished.
Love can make you turn on yourself, and it can do harmful things to you. It’s a deep lesson in human psychology, as with many of the stories. Anyways, that’s just an example of one of the most wicked women in the Nights.
I love titles and organizing chains of ideas. I like that very much.
The tripartite structure – so you remember the third brother, second brother, first brother, or the first dervish, second dervish, and third dervish. This is very like embroidering a cloth, as you have to know where you are with the knots.
I do not think commodities are taken for granted. One of the convergences in time I noticed, and to me seemed very important, was the emergence of paper money. There had been permissionary notes, exchanging money by writing it, but there was no duplicated form of guaranteeing an exchange.
Our traditional stories are based on an aristocratic model without a middle class, whereas The Arabian Nights reflect people living in cities, traders, merchants, travelers, with a wide range of personalities.
Scheherazade, of course, was always in the back of my mind, because she’s also a storyteller identified as female who tells a lot of anti-female stories. There’s a parade in The Arabian Nights of sorceresses, adulteresses, ghouls, sirens, harridans.
Storytelling is a dangerous vocation, for the fairies punish those who return to tell their secrets.
Theories about world literature, of which fairy tale is a fundamental part, emphasize the porousness of borders, geographical and inguistic: no frontiercan keep a good story from roaming. It will travel, and travel far, and travel back again in a different guise, a changed mood, and, above all, a new meaning.
The Other Worlds which fairy tales explore open a way for writers and storytellers to speak in Other terms, especially when the native inhabitants of the imaginary places do not belong to an established living faith and therefore do not command belief or repudiation. The tongue can be very free when it is speaking outside the jurisdiction of religion.
The forest is where you are when your surroundings are not mastered.
It’s a long time ago that I lost my faith in Mary, a long time since she was the fulcrum of the scheme of salvation I then believed in, alongside Jesus the chief redeemer. But I find that the symbolism of mercy and love which her figure has traditionally expressed has migrated and now shapes secular imagery and events; Catholic worship and moral teaching no longer monopolize it or control its significance.
Behind every book for young people and every global product of family entertainment, the hum of boardroom discussion about the politics of the work can be heard.
Stories were migrants, blow-ins, border-crossers, tunnellers from France and Italy and more distant territories where earlier and similar stories had been passed on in Arabic and Persian and Chinese and Sanskrit.
Above all, love must be freely given, by mutual consent on both sides, through the exercise of free will. Because it is thus freely chosen, it is an act of humanity and civilisation, neither a daemonic possession such as hurled Dido upon her funeral pyre or Medea upon her children, not the base stirrings of concupiscence.