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I was raised on the brothers Grimm, but my favorite fairy tales in the world are Oscar Wilde's - 'The Nightingale and the Rose,' 'The Selfish Giant.' The latter is probably my all-time favorite.
I began to believe the fairy tales: You know, how we're all out there looking for our magical missing half.
I acquired a hunger for fairy tales in the dark days of blackout and blitz in the Second World War.
When I wrote the eight fairy tales that appear in 'Horse, Flower, Bird' I was working toward a completely new form of artistic expression, trying to create a new kind of tale that also felt vintage: innocent and childlike, but haunted. I tried to write a picture-less picture book.
As a child, I loved fairy tales because the story, the what-comes-next, is paramount. As an adult, I'm fascinated by their logic and illogic.
When you think of Grimm's fairy tales, they are deeply, deeply psychological. They're so powerful, so bloody, and really, really disturbing. Think about five-year-olds reading that stuff. Even 'Little Red Riding Hood' is a really freaky story. Grandma is gobbled up by a wolf, and the wolf is going to eat the girl. That's scary stuff.
Gifts fall from heaven only in fairy tales.
I like that 'once upon a time' quality, where the telling of a tale has an elevated sense of story. There's a whimsical quality to it. Sometimes in fairy tales more things seem possible, even though often they're real world based.
When you hear the words 'magic' and 'story', they will probably evoke thoughts of your favourite fairy tales from childhood. Storybook pages abound with all manner of magic: fantastical fairies, wish-granting genies, or even a certain boy wizard.
Well, Company of Wolves was about that literally, about fairy tales.