Project MUSE®: Marvels & Tales - Latest Articles
https://muse.jhu.edu/journal/122
Project MUSE®: Latest articles in Marvels & Tales.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 15 (2001) through current issueLatest Articles: Marvels & TalesTWOProject MUSE®Marvels & Tales1536-18021521-4281Latest articles in Marvels & Tales. Feed provided by Project MUSE®From the Editors
https://muse.jhu.edu/article/974661
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This issue brings together essays from across the globe that examine the fairy tale in various folktale, literary, and film contexts. It also bids farewell to Anne E. Duggan, who is stepping down as coeditor after twenty-five years of editing Marvels & Tales in various roles. She began in 2000 as associate editor under Donald Haase’s stewardship before taking the helm as coeditor in 2013. Anne played an important role in shaping Marvels & Tales into the flourishing journal that it is today, and her impact is felt on every page. She will continue to guide the journal as a member of the editorial board, about which we are thrilled.This issue begins in East Asia with fox spirits and an examination of how these tales
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallFrom the Editors2025-11-14text/htmlen-USFrom the Editors2025-11-142025TWOProject MUSE®25442026-05-12T00:00:00-05:002025-11-14Moral Extremes and Suprahuman Potentialities in Tales and Adaptations of the East Asian Folkloric Fox Spirit
https://muse.jhu.edu/article/974662
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The East Asian folkloric figure of the shape-shifting fox—huli jing in China, kitsune in Japan and gumiho in Korea—first appeared around 2,500 years ago and continues to be widely adapted in contemporary literature and media. Portrayed across a spectrum from the wild fox with magical abilities to the supremely powerful nine-tailed celestial fox, this figure enacts fantasies that exceed the physical, moral, or social possibilities for humans, functioning in a similar way to the vampire or werewolf in the Euro-American tradition. Unlike the vampire or werewolf, though, the East Asian fox does not always prey on humans or require them for its survival; the fox is much more ambivalent and mercurial, existing outside
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallMoral Extremes and Suprahuman Potentialities in Tales and Adaptations of the East Asian Folkloric Fox Spirit2025-11-14text/htmlen-USMoral Extremes and Suprahuman Potentialities in Tales and Adaptations of the East Asian Folkloric Fox Spirit2025-11-142025TWOProject MUSE®647652026-05-12T00:00:00-05:002025-11-14Wingless Bird: Femininity, Violence, and Disempowerment in a South Asian Fairy Tale
https://muse.jhu.edu/article/974663
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Can the success of a fairy tale about a witch whose soul resides in the body of a bird and her baby-eating cowives tell us something about gender expectations in South Asia? If fairy tales are designed to communicate “normative behavior, character types, sexual roles, and power politics” (Zipes, Why Fairy Tales Stick 99) and if they are “as fluid as a conversation taking place over centuries” (Warner, Once Upon a Time 44), then I would suggest that analysis of a tale can yield insights into popular notions of threatening and idealized femininities and the codes of cultural coherence that govern women’s behavior. To this end, I draw attention to the fairy tale variously published as “The Son of Seven Mothers,” “The
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallWingless Bird: Femininity, Violence, and Disempowerment in a South Asian Fairy Tale2025-11-14text/htmlen-USWingless Bird: Femininity, Violence, and Disempowerment in a South Asian Fairy Tale2025-11-142025TWOProject MUSE®842322026-05-12T00:00:00-05:002025-11-14Lebanese Subversive Folktales: Najla Jraissaty’s Pearls on a Branch
https://muse.jhu.edu/article/974664
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From 1975 to 1995, Najla Jraissaty collected oral folktales to use as material for children’s plays in Lebanon, and in 2014 she published a collection of one hundred Arabic stories. This collection included thirty stories now published in the English translation titled Pearls on a Branch, the focus of my study.1 Female storytellers, with an average age of sixty years old, narrated these stories to children and often to other women on their own. Jraissaty asked the storytellers to tell a story they had heard as children; the storytellers came from all over Lebanon and had various backgrounds, religions, social classes, and levels of education.It is crucial to contextualize Pearls within the gender politics of
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallLebanese Subversive Folktales: Najla Jraissaty’s Pearls on a Branch2025-11-14text/htmlen-USLebanese Subversive Folktales: Najla Jraissaty’s Pearls on a Branch2025-11-142025TWOProject MUSE®703722026-05-12T00:00:00-05:002025-11-14Creeping Desires: Queer Masculinity in “The Youth Who Wanted to Learn What Fear Is” (ATU 326)
https://muse.jhu.edu/article/974665
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“Forbidden pleasures” is the phrase Maria Tatar uses to describe the relationship that boys and men have with fairy tales in her foreword to Kate Bernheimer’s Brothers & Beasts (xvii), an anthology of essays written by popular male authors that explores the importance of fairy tales within the lives of men. Bernheimer explains that in proposing this collection to these authors, many expressed “initial fear” due to a widespread “cultural bias against boys liking fairy tales” (7). While fairy tales are significant cultural texts, saturating virtually all contemporary forms of media from advertisements to video games, there is a strong association between fairy tales and the feminine: Cinderella, Snow White, and
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallCreeping Desires: Queer Masculinity in “The Youth Who Wanted to Learn What Fear Is” (ATU 326)2025-11-14text/htmlen-USCreeping Desires: Queer Masculinity in “The Youth Who Wanted to Learn What Fear Is” (ATU 326)2025-11-142025TWOProject MUSE®735822026-05-12T00:00:00-05:002025-11-14A Curse on Sleeping Beauty: Rose Terry Cooke’s Antebellum Fairy Tale
https://muse.jhu.edu/article/974666
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Rose Terry Cooke is not known as an author of fairy tales. Most modern scholars, like Judith Fetterley and Marjorie Pryse, characterize her work as an early example of New England regionalism, foreshadowing the fiction of Sarah Orne Jewett or Mary Wilkins Freeman (Fetterley and Pryse 34).1 Among her many sketches of prosaic, real-world women,2 Cooke’s fantastical short story “Maya, the Princess,” which appeared under her maiden name in the January 1858 issue of the Atlantic Monthly, is a conspicuous outlier. Indeed, Elizabeth Ammons (the rare scholar to devote space to this early story) describes “Maya” as a tale that “has no realistic level” (xxvii).The fairy kingdom that is the site of Maya’s struggle, however
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallA Curse on Sleeping Beauty: Rose Terry Cooke’s Antebellum Fairy Tale2025-11-14text/htmlen-USA Curse on Sleeping Beauty: Rose Terry Cooke’s Antebellum Fairy Tale2025-11-142025TWOProject MUSE®1038262026-05-12T00:00:00-05:002025-11-14Rodgers and Hammerstein’s Cinderella and Fairy-Tale Injustice: Overcoming Everyday Aggression
https://muse.jhu.edu/article/974667
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How we treat each other really matters.1Aggressive acts ruin confidence, civility, and justice in fictional and real human relations. Psychosocial aggression rooted in entitlement fuels narrative trouble and suspense in fairy tales, especially the “Cinderella” tale type (ATU 510A). Just about any version of “Cinderella” involves Cinderella’s mistreatment, most often perpetrated to benefit her stepfamily’s social status. Social science scholars refer to such acts as “relational aggression.” Narrative trouble and real-life pain accompany relational aggression, identified by researchers and family therapists Megan Oka, Cameron C. Brown, and Richard B. Miller as “love withdrawal and social sabotage” (25). This article
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallRodgers and Hammerstein’s Cinderella and Fairy-Tale Injustice: Overcoming Everyday Aggression2025-11-14text/htmlen-USRodgers and Hammerstein’s Cinderella and Fairy-Tale Injustice: Overcoming Everyday Aggression2025-11-142025TWOProject MUSE®870352026-05-12T00:00:00-05:002025-11-14Pretty in Patriarchal Pink: Barbie’s Genitals and the Grimm Fairy-Tale Horrors of Abject Motherhood
https://muse.jhu.edu/article/974668
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At the end of Barbie, the eponymous doll (Margot Robbie) marches into a waiting room and proudly announces, “My name is Barbara Handler. I’m here to see my gynecologist.” Barbie’s declaration is a callback to earlier jokes referencing the open secret that the Mattel-manufactured dolls on which the movie is based have no genitalia. Director Greta Gerwig characterizes the film’s final line as a “mic drop kind of joke” for a movie meant to be entertaining and empowering (Ryan). In an interview with USA Today, she recalls:When I was a teenage girl, I remember growing up and being embarrassed about my body, and just feeling ashamed in a way that I couldn’t even describe. It felt like everything had to be hidden. And
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallPretty in Patriarchal Pink: Barbie’s Genitals and the Grimm Fairy-Tale Horrors of Abject Motherhood2025-11-14text/htmlen-USPretty in Patriarchal Pink: Barbie’s Genitals and the Grimm Fairy-Tale Horrors of Abject Motherhood2025-11-142025TWOProject MUSE®1162492026-05-12T00:00:00-05:002025-11-14Interview with Stephania Dugazon, Author of Caramelle
https://muse.jhu.edu/article/974669
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In June 2023, I had the pleasure of meeting Haitian pediatrician and writer Stephania Dugazon when she came to Detroit, Michigan, as part of the Department of State’s Young Leaders of the Americas Initiative. I learned about the work she was doing in Haiti to raise awareness about child domestic labor, embodied by the figure of the restavek. Literally meaning “the stay with,” referring to a child living with a family and carrying out domestic labor, restaveks are denied educational opportunities and often experience various forms of physical, sexual, and emotional abuse.1 In order to change perceptions of restaveks within and outside of Haiti, Dugazon wrote Caramelle, a fairy tale that brings dignity to the
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallInterview with Stephania Dugazon, Author of Caramelle2025-11-14text/htmlen-USInterview with Stephania Dugazon, Author of Caramelle2025-11-142025TWOProject MUSE®194232026-05-12T00:00:00-05:002025-11-14The Selected Children’s Fictions, Folk Tales and Fairy Tales of Andrew Lang ed. by Andrew Teverson (review)
https://muse.jhu.edu/article/974670
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The name Andrew Lang will already be familiar to many; as editor of the popular Coloured Fairy Book series, he is highly regarded for his interest in folklore and fairy tales. The author and scholar, born in the Scottish Borders and educated at Oxford, spent much time in Scotland gathering folkloric material; evidence of such material is sprinkled throughout his work. He also delved extensively into anthropology, religious practices and beliefs, nature, and classical studies, among many other overlapping interests. Lang’s wife, Leonora “Nora” Blanche Alleyne, was his main collaborator on the Fairy Books, also undertaking a large portion of the translation work. Lang wrote several works of poetry, contributed
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallThe Selected Children’s Fictions, Folk Tales and Fairy Tales of Andrew Lang ed. by Andrew Teverson (review)2025-11-14text/htmlen-USThe Selected Children’s Fictions, Folk Tales and Fairy Tales of Andrew Lang ed. by Andrew Teverson (review)2025-11-142025TWOProject MUSE®81972026-05-12T00:00:00-05:002025-11-14Wonder Tales for Men ed. by Diego Morales (review)
https://muse.jhu.edu/article/974671
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One of the significant outcomes of feminism is the regendering of masculinity. Once men are no longer the unconsidered norm, the default setting for everything from clothing styles to medical studies, then cultural patterns associated with male persons become visible. This shift applies to fairy tales as much as anything else, and yet there has been relatively little study of the ways Märchen portray men and boys, individually or in groups. Popular culture associates fairy tales with the feminine, either as something that locks women into limited, Sleeping Beauty–type roles or as potentially empowering stories of female heroism. There is no such association with the masculine, except for the sinister version of
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallWonder Tales for Men ed. by Diego Morales (review)2025-11-14text/htmlen-USWonder Tales for Men ed. by Diego Morales (review)2025-11-142025TWOProject MUSE®86742026-05-12T00:00:00-05:002025-11-14Möbius Media: Popular Culture, Folklore, and the Folkloresque ed. by Jeffrey A. Tolbert and Michael Dylan Foster (review)
https://muse.jhu.edu/article/974672
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The metaphor of the Möbius strip guides Jeffrey A. Tolbert and Michael Dylan Foster’s edited collection about the intersections of popular culture and the folkloresque. It’s a mathematical and philosophical concept of a continuous loop of space and time that elegantly twists 180 degrees so that up becomes down and down becomes up yet remains one unified, unending path (10). Where culture and folklore are concerned, things may seem new and fresh but are likely to be reinventions or recursions of something that has been around for quite a long time.The first section, “Introduction: The Value of Recursion,” primes readers for understanding how the aura of “actual” folklore is manipulated and transmuted to produce
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallMöbius Media: Popular Culture, Folklore, and the Folkloresque ed. by Jeffrey A. Tolbert and Michael Dylan Foster (review)2025-11-14text/htmlen-USMöbius Media: Popular Culture, Folklore, and the Folkloresque ed. by Jeffrey A. Tolbert and Michael Dylan Foster (review)2025-11-142025TWOProject MUSE®89402026-05-12T00:00:00-05:002025-11-14The Book of Yōkai: Expanded Second Edition by Michael Dylan Foster (review)
https://muse.jhu.edu/article/974673
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Within the first few pages of The Book of Yōkai, Michael Dylan Foster loosely describes yōkai as a “weird or mysterious creature, a monster or fantastic being, a spirit or a sprite” (5). This description is both expected and anticipated, with Foster consciously positioning his text as a bestiary. Yet, in the preamble to this initial definition, Foster evidences the unruliness—the transient and transformative potential—that categorizes yōkai in contemporary understanding. This unruliness, rather, yōkai’s “liminality, or ‘in-betweenness’” (5), becomes the first means of identifying, connecting, and interpreting yōkai in local (Japanese) and global contexts. As Foster restates throughout The Book of Yōkai, the
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallThe Book of Yōkai: Expanded Second Edition by Michael Dylan Foster (review)2025-11-14text/htmlen-USThe Book of Yōkai: Expanded Second Edition by Michael Dylan Foster (review)2025-11-142025TWOProject MUSE®111582026-05-12T00:00:00-05:002025-11-14The Brothers Grimm: A Biography by Ann Schmiesing (review)
https://muse.jhu.edu/article/974674
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In The Brothers Grimm: A Biography, Ann Schmiesing gives us a detailed and engaging look at the incredibly productive and influential lives of Jacob and Wilhelm Grimm during a complicated period of history in Europe. Using the brothers’ own words in their letters and writings throughout, Schmiesing has produced a picture of their lives that is both intimate and broadly historical.She writes that her audience is twofold, for she says: “I have written not exclusively with academia in mind, but in the hope that this book will interest a broader readership” (xvii). The biography succeeds in this endeavor, as Schmiesing has written a fairly tight biography, the text itself being only 265 pages with an additional
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallThe Brothers Grimm: A Biography by Ann Schmiesing (review)2025-11-14text/htmlen-USThe Brothers Grimm: A Biography by Ann Schmiesing (review)2025-11-142025TWOProject MUSE®94952026-05-12T00:00:00-05:002025-11-14The Disney Princess Phenomenon: A Feminist Analysis by Robyn Muir (review)
https://muse.jhu.edu/article/974675
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At first glance, the Disney princess may seem like a harmless fairy-tale figure––a kind, beautiful, always-smiling young woman who achieves her “happily ever after.” But what if these seemingly innocent characters have more of an impact on our children than we think? Robyn Muir sets out to prove that Disney princesses are more than just fun and innocent make-believe stories; they are mirrors that reflect society’s expectations of women onto the most vulnerable of our population: our children. Muir’s book analyzes how Disney princesses, which are often perceived as trivial and nonsubstantive children’s characters incapable of influencing societal norms, actually shape how young girls in particular view themselves
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallThe Disney Princess Phenomenon: A Feminist Analysis by Robyn Muir (review)2025-11-14text/htmlen-USThe Disney Princess Phenomenon: A Feminist Analysis by Robyn Muir (review)2025-11-142025TWOProject MUSE®82812026-05-12T00:00:00-05:002025-11-14The Green Children of Woolpit: Chronicles, Fairies and Facts in Medieval England by John Clark (review)
https://muse.jhu.edu/article/974676
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The twelfth-century story of Woolpit’s green children has intrigued people across the centuries and given rise to an array of theories attempting to rationalize the children’s appearance and strange nature. The children, a boy and a girl who wandered out of the fields near Woolpit speaking an unrecognized language and with “leek green” skin, were treated as escapees of the land of Fairy and were neatly slotted into the local fairy belief of the time. Later viewed as protagonists of a wonder tale by medieval commentators, in the twentieth and twenty-first centuries they have been explained as everything from fairies to extraterrestrials, from lost, foreign humans to medical oddities. John Clark’s work represents the
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallThe Green Children of Woolpit: Chronicles, Fairies and Facts in Medieval England by John Clark (review)2025-11-14text/htmlen-USThe Green Children of Woolpit: Chronicles, Fairies and Facts in Medieval England by John Clark (review)2025-11-142025TWOProject MUSE®71932026-05-12T00:00:00-05:002025-11-14Vigilante Feminists and Agents of Destiny: Violence, Empowerment, and the Teenage Super/heroine by Laura Mattoon D’Amore (review)
https://muse.jhu.edu/article/974677
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Regular readers of Marvels & Tales will recall Laura Mattoon D’Amore’s intriguing 2017 article titled “Vigilante Feminism: Revising Trauma, Abduction, and Assault in American Fairy Tale Revisions.” This book is an expansion of that article’s core ideas, with additional texts and theories to supplement the original focus on fairy-tale texts. In its current form, the book contains an introduction, four body chapters, and a conclusion, with explicit fairy-tale retellings comprising two of the body chapters. A bibliography and index complete the slim volume.In a departure from D’Amore’s earlier article, the introduction situates D’Amore’s work not only in terms of fairy-tale studies and feminist theory but also trauma
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallVigilante Feminists and Agents of Destiny: Violence, Empowerment, and the Teenage Super/heroine by Laura Mattoon D’Amore (review)2025-11-14text/htmlen-USVigilante Feminists and Agents of Destiny: Violence, Empowerment, and the Teenage Super/heroine by Laura Mattoon D’Amore (review)2025-11-142025TWOProject MUSE®89552026-05-12T00:00:00-05:002025-11-14Ebony, Blood, and Snow: New Stories from Old Tales by Tish Black (review)
https://muse.jhu.edu/article/974678
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Ever since the fairy-tale revolt by such writers as Anne Sexton and Angela Carter in the 1970s, there has been an explosion of feminist fantasy stories that have made readers think, once or twice, that the world is being turned upside down and inside and out. In short, the world is not moving toward fulfilling our dreams of happily ever after. Meanwhile, numerous radical writers of fairy tales have adapted and interpreted the classic fairy tales of Perrault, the Grimm Brothers, Andersen, and The Arabian Nights in a way that reflects how much we still need to change the inequalities in our social relations, especially when it comes to women.In keeping with this radicalism, there are gifted feminist authors who
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallEbony, Blood, and Snow: New Stories from Old Tales by Tish Black (review)2025-11-14text/htmlen-USEbony, Blood, and Snow: New Stories from Old Tales by Tish Black (review)2025-11-142025TWOProject MUSE®55432026-05-12T00:00:00-05:002025-11-14Critical Exchanges
https://muse.jhu.edu/article/974679
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Fairy-tale studies are made especially interesting by the controversies that inevitably accompany them. Accordingly, Marvels & Tales will publish critical exchanges between readers and authors. Concise, professional responses that augment, develop, or constructively challenge the substance of essays published in the journal may be submitted to the editors. Responses should be submitted through the Marvels & Tales Digital Commons website at https://digitalcommons.wayne.edu/marvels/. They should be limited to one thousand words or less and should contain no footnotes or other apparatus unless approved in advance by the editors. The author whose work is the subject of the response will be given the opportunity to
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallCritical Exchanges2025-11-14text/htmlen-USCritical Exchanges2025-11-142025TWOProject MUSE®20232026-05-12T00:00:00-05:002025-11-14Index to Volume 39 (2025)
https://muse.jhu.edu/article/974681
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a Marca, Pablo. Cloaked in Queerness: Challenging Gender Identities in L’Histoire de la Marquise-Marquis de Banneville, 133–48Balaa, Luma. Lebanese Subversive Folktales: Najla Jraissaty’s Pearls on a Branch, 256–71Cardi, Luciana. Reshaping Japanese Animal Tales and Transgressing Gender Paradigms in Alexander Chee’s Novel Edinburgh, 149–64Clausen, Katie. From Grimm to Gone: Confronting the Absence of “Allerleirauh” in US Public Libraries, 165–84Duggan, Anne E., Paul Grimault, Jacques Prévert, and Engagée Animation: The Case of The King and the Bird, 92–111Foley, Vera R. A Curse on Sleeping Beauty: Rose Terry Cooke’s Antebellum Fairy Tale, 290–306Hart, Carina, and Yiyin Lyu,. Moral Extremes and Suprahuman
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallIndex to Volume 39 (2025)2025-11-14text/htmlen-USIndex to Volume 39 (2025)2025-11-142025TWOProject MUSE®69402026-05-12T00:00:00-05:002025-11-14Caramelle
https://muse.jhu.edu/article/974762
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Dear parents,In a century where values are being cast to the side . . . a world that is becoming more and more virtual by the minute, and where the art of communication is becoming increasingly considered useless and obsolete, I wish to give your children, especially the children of Haiti, life lessons that can serve as their moral compass throughout their childhood. Caramelle is a fictional work, which I wrote to stir their desire to embrace their difference, to stimulate their creativity and imagination, but above all, to give them a love for reading.I hope that they will find, through my character, little Caramelle with ebony skin, a model of strength and determination.Dear young readers,It is my wish that you
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/122/image/coversmallCaramelle2025-11-14text/htmlen-USCaramelle2025-11-142025TWOProject MUSE®249312026-05-12T00:00:00-05:002025-11-14