The Rebirth of Rapunzel: A Mythic Biography of the Maiden in the Tower by Kate Forsyth (review)

From the outset, Kate Forsyth clearly states the primary goal of her “mythic biography,” and that is, quite simply, to “interrogate the many different retellings of the ‘Maiden in the Tower’” in an exegesis that seeks to explain why “this tale-type has continued to be told and re-told over so many centuries” (4). Forsyth initially gathered much of the research presented here for her novel Bitter Greens (2012); in that work she explores the nature and power of storytelling as she constructs an adaptation of the “Rapunzel” narrative that is rich in historical detail and fictional speculation. In The Rebirth of Rapunzel Forsyth frames her scholarly inquiry within a process narrative that explores her deeply personal impetus for grappling with this tale. Inspired by Stephen Knight’s “mythic biography” of Robin Hood (2003), she borrows “his methodology in evaluating the tale through its chronological development . . . which is shaped by the socio-historical forces at work in changing human cultures” (5).

Forsyth’s volume is divided into three sections. The first is composed of six chapters, starting with “The Golden Braid: Rapunzel and I,” which explores the origin of her connection with the tale as a young child imprisoned in the metaphorical tower of a hospital bed after a devastating attack by a dog left her in need of frequent medical attention. Forsyth then moves from “ancestors” to “descendants,” which frames three chapters dedicated to the most widely known versions of the tale by Giambattista Basile, Charlotte-Rose de La Force, and the Grimms. Section 2 is a reprint of “Persinette,” translated by Jack Zipes, presumably included because it is the most relevant version of the tale to Forsyth’s novel. Finally, Section 3 is an eclectic collection of eight of Forsyth’s previously published articles that explores the birth of both fantasy and science fiction, other facets of Forsyth’s personal connection to fairy tales and retellings, and the production of Australian adaptations of the “Rapunzel” narrative. In this section, there are several alternative articulations of Forsyth’s childhood trauma, which, though it feels a bit repetitive when reading the book cover to cover, shows the evolution of her idea from its early stages into the longer work seen in Section 1.

This is not a rigorous scholarly tome that redefines how we read this tale type or fairy tales in general, but neither does that seem to be its purpose. One of Forsyth’s stated goals is to bring together “for the first time a complete history of the tale, from the mythic fragments that may be proof of its existence in ancient gynocentric oral traditions right through to key contemporary reimaginings” (5). She succeeds in gathering a good general insight into the mythic origins of the Rapunzel tale, but the most compelling aspect of her study is, “to show how my new understanding of the tale’s origins enriched my own creative responses to the tale” (46). Her accessible and deeply personal approach to the subject matter ensures that those readers uninitiated in the discourse of fairy-tale studies will easily be able to follow along and that fans of her novel will gain insight into the development of a historically rooted creative piece. Forsyth is a mentor guiding the reader through the difficult yet rewarding process of discovery, with rhetoric like “I decided to . . .” and “I stumbled upon . . .” that makes her readers feel as though they could engage in a similar process, whether as a burgeoning student of fairy tales or storyteller (or both) (18, 19).

Forsyth is most in her element when she brings historical, social, and cultural tidbits together from a plethora of sources. For example, regarding the choice to give her Rapunzel red hair, she explains, “Red is the colour of blood and fire and the rising full moon, and so symbolizes the forces of life, love, passion, and fertility. It is also the...