#folk tales

[itscolossal]

Imaginative Scenes Vibrantly Expand in Shelley Aldrich’s Illustrated Tunnel Books

[yanderedrabbles]

The North Wind & His Bride

The North Wind was the coldest and cruelest of winds. So when a man came to your father's door claiming to be him and asking for your hand, your father was quick to turn him away.

"My daughter is too bright and too kind to be wasted on the worst of the winds. Come back once you learn to carry spring on your breath instead of snow."

And all that night the wind whispered down your chimney. You dreamt strange dreams - of the colours found only at the edge of the world, of snow flurries and seas black as night.

The man returned the next day. And your father once again refused him. "Come back when you can grant succor to the poor and the pitiful and not freeze them where they sleep."

That night, the wind keened even higher and rattled the window shutters. You dreamt of a wedding dress with frost for lace and a ring the gold of sunrise on snow. When you woke, your ring finger was cold as ice.

The man did not come again that day and you huddled close to the fire, rubbing warmth back into your bones. Your father paced his study and tried to scheme a way of avoiding the wind.

That night, the air laid still as in a coffin and you slept the black sleep of the drowned. You woke in time to see the first snow of the year, two months too early.

Your father's crops froze in the ground or rotted with the thaw. He paced his study and tried to scheme a way of avoiding the creditors.

When next your suitor came, your father's good manners had been worn down by debt collectors and bank notes. He snapped at the wind like a thing cornered. "Come back when you can guide ships safe to port and not wreck them on icy shores."

That night, a blizzard blew in from the north and any creature not crouched by the fire or huddled indoors was found frozen solid. You dreamt again, of a man with cold hands and even colder eyes who danced with you under foreign stars.

Your suitor did not come again but terrible news did. Your brother's ship was wrecked by a storm high on the winter coast. All souls were lost.

Through your grief, a terrible anger began to grow.

When next your suitor came, you greeted him at the door. He had a face as finely chiseled as an ice sculpture and eyes the deep black of the hinterland sea.

"If you would have me as your bride, then I will have a dowry from you."

He took your hand in his and his touch chilled you worse than a corpse's would. He looked at you with a hunger born out of winter and scarcity and cold.

"Anything. Ask anything of me and you can have it."

All through your brother's funeral you thought of ways to avenge him. And now you asked the North Wind for the one thing you thought he could never obtain.

"In a kingdom far south of here, where the snow never falls and the winter never comes, there is a jewel carved from the sun God's bones. Bring me that as a wedding band and I will be your bride."

You thought he would flinch or ask you to reconsider. Instead he bowed and kissed your hand and said he would soon return.

You felt your hope slipping, but he did not return the next day. Or the day after that. The end of autumn came without snow or gales or the return of your suitor. Slowly, you began to breathe again. Began to heal from your brother's death. Began to dream of summer and love and fresh fruit bursting between your teeth.

The winter equinox dawned with clear skies. There was to be feasting that night, and dancing. You dressed your hair with silver chains and sweetened your lips with winter berries. When the music started, one young man after another swept you into his arms and spun you around the bonfire. You tilted your head back and laughed and flirted and forgot all about your suitor.

Near midnight, the wind started to blow. The fire hissed as snowflakes drifted down from suddenly cloudy skies. Your dance partner caught one on his glove and offered it to you. Daring and high on the thrill of dancing, you licked it off his finger. "Tastes of winter in storm," you teased and when he took you for another dance, you wondered if you'd caught yourself a husband.

He spun you around but the arms that caught you were icy cold even through the fine velvet of the wearer's suit.

Midnight tolled and you looked up into the eyes of the North Wind.

He pulled your hand to his mouth and pressed his lips against your skin. At his touch, even the bonfire at your back seemed to lose its warmth.

"The journey south was wrecked with danger and the sun almost melted me clean away, but I have brought your dowry."

Before you could pull away, he slipped a ring onto your finger. It was the gold of fire and sunset and desert sand, and it's warmth spread through you.

The snow turned into a blizzard but you didn't notice it. The wind outside the safety of his arms was sharp as stinging nettles and the townsfolk called to each other in panic, barely able to keep their torches from blowing out.

The North Wind kissed your cheek, eyes glimmering with triumph.

"You're mine now. My spring bride, my dearest love."

All your dreams of a sweet summer love melted. When the snow finally settled, you were no longer in the town square but in a throne room at the edge of the world. Green and blue lights danced in the sky and shone through the palace ceiling, bathed your new husband in all the colours of his kingdom.

He leaned forward and claimed his first kiss.

When you pulled away and tried to step out of his embrace, he tightened his grip and his smile both.

"You are my wife now," he explained in a voice as comforting as frostbite, "And a wife cannot refuse her husband's love."

Your sun ring was the only spot of warmth on your body and you clung desperately to the anchor it offered.

"I would not refuse you, husband of mine. But I am the daughter and the sister of common men and there are traditions to uphold before I can climb into your wedding bed."

"What more must I do to have you?"

What would he be unable to do, here at the end of the world?

"Build me a fire that burns all day and all night on one stick of wood and you can have me as promised."

"These are strange traditions you have, wife of mine. But I have come this far to have you, and I will go further yet."

He left you with a flurry of snow and the hissing shriek of a gale. When he was gone, you paced the throne room from one end to the other and could not find a door. Everything about the room was as stark and cold as he.

Exhausted and chilled, you sat at the foot of his throne. What terrible thing did you do to earn the love of the North Wind? You wiped away your tears and then jumped at the hissing sound they made when they touched your ring. Like water spilled on coals.

"You've melted his heart," your ring hissed. "And he cannot afford to let you go."

You stared at your hand. Eventually you found your voice and the strength to ask, "How do I escape him?"

"Trick him. His heart holds all his power. If you have it, you can ride the wind far from here. He was once a man and still might be tempted into a deal."

The ring was silent after that and you waited for your husband's return with bated breath. It was dawn when he came to you, a branch slung over his shoulder. It was of a dry, white wood that you didn't recognise.

There were no fireplaces in the North Wind's palace and so he laid the branch at your feet before he lit it. It caught with a harsh crackle and fire spread across it in a greenish haze. You stretched your fingers out to feel the heat and even the meagre warmth of it was a comfort.

But that comfort turned to a slow dawning horror when you realised the branch wasn't turning to ash. The fire ate at it but the wood refused to darken.

"It's a branch from Death's own orchard," your husband said proudly. "It can burn for eternity and never go out."

"Well done," you said, even though your lips were numb from panic. "But we must watch it burn for the full day and night or else our marriage cannot be consummated."

He sat down beside you and curled his arm around your waist. "It is an easy task to watch this fire, wife of mine. When I grow tired, I need only think of the reward that awaits me."

For a whole day and night, the North Wind held you his arms and watched the fire burn. When Dawn's light touched his palace again, he kissed your shoulder and then your neck and then your lips. He sighed with a deep contentment.

"At last I will have you."

With each kiss, you felt yourself grow colder. With each caress, the binding ties of marriage grew tighter. All night you thought of a trade to offer him and now you said it aloud.

"Husband of mine, I will come willingly to your bed and serve willingly as your wife. But I would ask you first for a boon."

"Ask, wife of mine. If it is mine to grant, then I shall grant it."

You slipped off his lap and turned to look at him.

"I would have your heart."

The North Wind sighed and miles away, a gale began to form. "You already have it."

"So have said countless suitors over countless years to countless girls. And still they were unfaithful, unkind. If your love ever turns away from me, I will be stuck here at the end of world with naught but sea bears and ice hounds to comfort me."

The North Wind sat on his throne and regarded you with eyes old as the mountains. In his own hall, in his own country, he did not seem like a man who could easily be tricked. Still, you tried. You let your hands drift across his cheeks and up his thighs, let his skin bask in the warmth of your touch.

"Grant me this, husband. And I will be yours for eternity."

Was it lust or love that made him hand you a knife and bid you cut out his heart? He guided your hand to the tender spot between his ribs and the bare skin of his chest almost made your reconsider.

The blade was carved out of whalebone and moonlight and he was bleeding before you even pressed down. You thought of your brother, drowned in the ice so far from home and found the strength to slice into him.

The blood that welled up from his chest was thick and black as oil. Where it touched your skin, hoatfrost bloomed.

He didn't seem to feel any pain - he only pulled you higher up his lap and watched the guilt and horror flicker across your face.

When the cut was deep enough, you pushed your hand into his chest and felt for his heart. His organs were colder even than his skin and it felt like you'd sunk your hands into snow.

The beating of his heart mirrored yours and when you finally grabbed it, the thrumming of his blood sounded just like your own.

You held the North Wind's heart in your hand and pulled it from his chest.

All at once, in all the countless winter kingdoms, the wind stopped howling and the snow grew still.

His heart was the size of your palm and oozed icy blood over your fingers. It was so cold that at first you didn't realise the numbness in your hand was spreading. It crawled up your arm like a burning frost and locked your bones in place.

You couldn't drop his heart even if you tried.

The North Wind looked at you with an indulgent, amused smile. And when the ice reached your heart he leaned up and kissed you.

He kissed you and for once his lips felt warm, felt human. Dimly, you realised it wasn't him who was getting warmer, it was you who was freezing over. Becoming a thing of ice and hunger as he was.

"Now you need never fear I will abandon you." The North Wind ran his hands up your sides and warmth bloomed in his wake.

"Now you can control the wind as I do and ride it to the furthest reaches of the world. You can swim with the sea bears and dance with the witches."

You looked down and realised his heart was almost gone, melted into your bones and blood.

He kissed you again. "My love, you are as free as the wind."

It wasn't until then that you realised the cost of freedom. The cost of having the North Wind's heart. And when he drew you up in his arms and lead you to your wedding bed, you were too cold to turn him away.

[lackadaisycal-art]

Once upon a time...

[lightthereis]

John Bauer - A Knight Rode Forth (1915)

[songs-of-the-east]

Tales of the Amur by Gennady Pavlishin: Nanai Folktales From Far East Russia

[allgirlsareprincesses]

Choosing the Beast: Modern Folklore Heroines Embrace the Animal Husband

“I choose the bear.” The refrain rang out across the web, with many a woman nodding in agreement or at least understanding, and certain men huffing with indignant outrage. Just a meme, really, but did it speak to a deeper truth? Is it merely age-old mistrust of patriarchy talking, or a true desire for the beastly, the wild, the untame?

I’m no sociologist, of course, but I have noticed an emerging trend in fem-gaze media that seems to reflect this view. In movies like I Am Dragon (2015) and recent shows like My Lady Jane and The Acolyte, the heroine chooses the beast, loving her animal husband in his wild form rather than requiring him to transform back into a mundane man to earn her affection. This is such a departure from the typical folktale pattern that it’s difficult to even find an historic example where this occurs.

Commonly thought to reveal the desire to tame a dangerous mate in a patriarchal society, most animal husband tales (ATU 425a) feature a hero who ultimately transforms permanently into a human. This is viewed not only as freeing him from the maddening effect of his wild form, but also saving his bride from committing the sin of bestiality. In these tales, the animal mate’s transformation is necessary for the salvation of both.

Is the modern heroine then damned by choosing her husband’s beastly form? Or does she actually free them both from the yoke of patriarchal expectations?

Bathing: Discovering the Wild Masculine

The first motif that stands out in these modern screen examples is bathing. In animal spouse tales, there is often a dynamic of the hunter and the hunted, and thus a moment when the hunter comes upon their would-be lover unawares. Perhaps they find the animal spouse sleeping, or they cast a light on them unexpectedly, see them without their animal skin or disguise, and so on. And of course, they often come upon the lover at their bath.

There is an implied eroticism in this discovery, finding one’s quarry not only undressed, but also in the most private of activities. Water of course symbolizes fertility, but bathing is also purifying, symbolically washing away all that might make a mate undesirable. And this, perhaps, is the reason that historically this motif is used almost exclusively for animal brides, not animal husbands.

For the animal husband, he either actively chooses to reveal himself to the bride (perhaps on their wedding night), or she violently strips away his disguise, often armed with “flame and steel” like Psyche and her many avatars. Animal brides on the other hand are nearly always discovered at a body of water, bathing. The hunter will then capture her either by stealing her animal skin or cloak, or by placing his own clothing on her. What does it mean, then, when it is the husband who is discovered bathing in a body of water, held as an erotic object in the feminine gaze?

In The Acolyte, Osha follows Qimir to a pool where he slowly undresses, in full knowledge that she is watching. On the shore, she steals his lightsaber, just like the hunter who steals the animal skin, symbolically claiming him. When he emerges, Qimir dons new clothes, as if acknowledging that he is a different person than before he entered the water, almost purified in a way. Osha is forced to confront that there is more to the murderer in the mask than she realized.

Similarly, in My Lady Jane, our heroine goes looking for Guildford just before sunrise on their ill-fated wedding night, only to discover him bathing in the stables. The scene is gratuitously filmed from Jane’s (very horny) perspective, flipping the script on the countless scenes in screen history shot with the masculine gaze. Immediately after she discovers and confronts him, Guildford transforms against his will into a horse, and Jane realizes that he is an Ethian, a creature she has been taught is demonic and unnatural.

And in I Am Dragon, Mira makes several discoveries in quick succession: first, she deduces that Arman is actually the dragon. In the next moment, she slips from the island’s peak and falls, saved only when Arman transforms at the last moment and breaks her fall with his dragon form. The water begins to wash over his unconscious body, and at first Mira thinks that she will allow him to drown. But the sight of Arman in his human form after he rescued her, worried over by his animal familiar, stirs her to pity and she wraps him in a sail and drags him to safety. In this way, she clothes him, claiming him as her own.

Each of these heroines discovered a new aspect of her husband at the bath, finding him unexpectedly alluring, and ultimately choosing to begrudgingly claim him. Each animal husband tried to wash away his beastly form, to separate himself from the wild masculine. These men feel a sense of disassociation from a part of themselves, but now that their brides have discovered it, there will be no more hiding. Further, the bride now holds the power in the relationship, evidenced by how her husband needs her: Qimir needs Osha to be his apprentice, Guildford needs Jane to help him “break the curse,” and Arman needs Mira to heal him from his wounds.

Playing House: The Half-Husband

The second feature of these stories is a period of domesticity for the couple. For a brief time after the husband’s beastly nature is revealed, the lovers “play house” like children. While sexual tension is present, they typically do not consummate their union during this time, but instead cook, eat, rest, and care for one another. What’s more, they ignore or even attempt to actively destroy the husband’s animal form. They deny that this is part of him and therefore part of their relationship.

In I Am Dragon, Mira heals Arman, and wakes the next morning to find he has left food for her (dragonfruit, appropriately). Together they begin building a home out of shipwreck debris they find scattered around the island. A cheery montage shows them decorating a living space, choosing clothes, playing music, and dancing. But the specter of Arman’s monstrous form lurks on the edge of their idyllic life. Mira has nightmares, and tells Arman how much she fears “the dragon,” notably not referring to them as the same person. And eventually, it emerges that Mira has been planning to escape, rejecting Arman’s dragon form entirely.

After he sheds the helmet and robes of The Stranger, Qimir turns his attention to caring for Osha: he heals her, lets her sleep in his bed, provides clothes, and cooks for her. In turn, after some lightsaber-wielding, Osha becomes more comfortable in his home and accepts the food he offers, eventually even trying on his helmet. Later, they bicker amiably on their way to Brendok, like an old married couple on a road trip. When not facing down Jedi, Qimir leaves his menacing persona behind and transforms into an empathetic, protective, and alluring partner.

Jane Grey, meanwhile, finds herself using her honeymoon sequestered away in a private cottage to try to cure Guildford of his Ethianism. With her knowledge of medicine, she concocts various potions and magical cures, but none of them succeed. Guildford often checks in on her after these disappointments, making sure she’s getting enough sleep and taking care of herself. It’s also clear that they’ve been regularly dining together when Jane suddenly dashes off to rescue her friend. Guildford follows her and the two protect one another, followed by an almost-tryst. Even when they move into the palace, their day-to-day (or rather night-to-night) life is one of comfortable domesticity, although they continue to deny Guildford’s horse form.

In each of these cases (although less so in The Acolyte without Season 2 to continue the story), playing house can only last for so long while the husband’s animal nature is denied. There is a part of him that is suppressed, rejected, and this leads to him being incomplete, a half-husband. Each hero is unable or unwilling to accept and celebrate his whole self with his bride. Eventually, it is that denial that leads to a rift between the couple, which can only be healed not with the transformation of the husband, but with the embrace of his animal form.

Enforcing Patriarchy: The Rival

Each of these relationships exists in direct opposition to the dominant culture in the story: Arman as the Dragon is the literal enemy of Mira’s people, Qimir as Sith is the enemy of Osha’s Jedi masters, and in My Lady Jane, intermarriage between humans and Ethians is punishable by death. By choosing to stay with their animal husbands, even for a brief time, our heroines are openly defying the patriarchal norms of their societies. But no oppressive society is about to take that transgression lying down. In each story, a rival emerges to enforce the patriarchal order, kill the beastly husband, and retrieve the bride.

In I Am Dragon, Mira’s betrothed and descendent of the dragon-slayer, Igor, journeys to rescue her from the dragon. Over the course of the story, it becomes clear that Igor cares nothing for Mira herself, and merely feels entitled to her as his bride. Dragon-slaying is his heritage, so he must find her, kill the dragon, and take his place as the hero of his people. Even the marriage ceremony illustrates his ownership of her: he takes hold of a rope tied to her boat and reels her in, thus binding her to the patriarchal order. Contrast that to Arman, who offers her the power of flight, a symbol for freedom.

In Osha’s case, Qimir’s rival for her loyalty is clearly Master Sol, who wants to keep his former pupil dependent on him and the Jedi. Sol takes patronizing fatherliness to an extreme, constantly rescuing Osha rather than letting her stand for herself, teaching her to deny her feelings and instincts, and lying to her to “protect” her. The Jedi refuse to allow that there might be any other way to access the Force than their own, thus invading the home of the Brendok witches and ultimately orphaning the twins. Sol continues to press this dominance to the end, challenging Qimir and insisting to Osha that his own lies were justified.

In My Lady Jane, there are two rivals, both women. Lady Frances attempts throughout the show to dominate her daughters and crush their wills, forcing them into unwanted marriages, applying political pressure, and even counseling Jane to abandon Guildford to save herself. The other rival is Mary Tudor, who is determined not only to emulate her father’s violent, oppressive, and misogynistic reign, but to crush anyone she considers “unnatural” or who poses a threat to her rule. These characters stand as clear examples of how women can enforce patriarchy, too.

In each story, there is a moment when the rival briefly recaptures or “rescues” the bride from her beastly husband, bringing her to a moment of decision: will she stay within the bounds of patriarchy like a good little girl? Or will she make an act of defiance to choose her own path?

Marriage: Choosing the Beast

The bride’s choice will ultimately decide not only her fate, but that of her mate as well. As an independent character, the wild masculine is deeply wounded, separated from himself and thus from his bride. He longs to transform not into a greater, more whole person, but into a lesser, half-person. Alone, without the embrace of his anima, he cannot see the value of his beastly form. Instead of healing, he faces annihilation.

As a part of the bride’s psyche, the beastly husband represents her innermost desires, the truth of her heart, and a spirit freed from the expectations of her society. He is her animus, her missing wild masculine. If she transforms him into a man, then she will tame his wild nature, bringing him to heel under the boot of the patriarchy. Choosing the human form and rejecting the beast means rejecting her own psychological needs. It would be just another form of psychic dismemberment.

Fortunately and unusually, each of these modern brides chooses her beastly husband without demanding he transform. When Osha finally agrees to become Qimir’s apprentice, she takes his hand under the willow tree, clasping the newly-bled lightsaber between them. A few scenes later, this wedding imagery is repeated when they hold hands over the saber again, this time looking into a sunrise/set. Notably, at the moment they “marry” under the willow tree, Qimir is wearing his beastly helmet with rows of menacing, wolfish teeth. He has not come to the light side or shed his Dark Side persona, but Osha has embraced him anyway without fear. And while they might not both be healed (yet), they are more whole together than they were apart.

When her efforts to cure Guildford of his Ethianism repeatedly fail, Jane begins to suspect that his “condition” cannot be cured at all. But listening to her Ethian friends Susanna and Archer finally convinces her that the truth is Guildford doesn’t NEED to be healed - being an Ethian is who he is, and it’s nothing to fear. Unfortunately, Guildford still associates his beastly form with his mother’s death, so he is unable to accept it as Jane encourages, and flees. After a near-death experience, he uses his equine speed to return to the castle just as Jane is deposed and captured. As our heroes battle toward the end, Guildford comes to learn that there are many other proud Ethians, and that his family loves and accepts him in any form.

Still, he’s unable to transform at will, and when Mary captures him and sentences both husband and wife to death, it seems their story may end in tragedy. But as Guildford has been struggling to accept himself, Jane too has been battling with her own conscience. Does she renounce Guildford to save herself? Use her wits to kill the guard and escape? Bend to her mother’s manipulation? Jane confronts each temptation, and ultimately chooses to face death rather than betray Guildford or herself. But when her Ethian friends (the wild instinct) appear to disrupt the execution, our heroine seizes the opportunity to rescue Guildford. Unable to free him from the burning pyre, she confesses her love for him, and they kiss amid the flames.

Fire is often a herald of transformation, burning away illusions to reveal the truth. And when Jane and Guildford exchange their vows in this symbolic marriage ceremony, Guildford’s fears and illusions are finally burned away. Now that his bride has accepted his beastly form, he can accept it too, and so he at last transforms at will into a horse so that they can escape. Their story ends with them married and whole before the sunrise.

Among our modern heroines, Mira is the boldest in her embrace of the beastly husband. Offered yet again as a bride to Igor, she realizes that this is not what she wants, and casts off the tether from her boat. She declares “I love the Dragon!” using the name of her husband’s animal form rather than his human name. Then, she sings the song that will call the dragon to her, and he appears to carry her away again.

But their story is not over yet! Earlier in the story, Arman told Mira of how he loses control when in dragon form, and that dragons are compelled to reproduce by burning maidens to death and retrieving their offspring from the ashes. Returning to the island with her a second time, the dragon drops her on the altar and prepares to spew fire, but Mira lunges up and kisses him. This act of love, even when he is a monster, stuns the beastly husband. Again, Mira declares her love and kneels before him, saying she does not wish to be parted. We might expect the animal husband to transform in this moment, but instead he lays his fearsome head in her lap as a lover. Their story ends with a child and a flight in the sky, silhouetted by the sun just like the other couples.

Each bride, when confronted with the option to return to the patriarchal limits of her childhood, chose instead an act of love and acceptance for her wild masculine. This embrace helped the beastly husband to accept his whole self, and he is healed without having to cut off the wild parts of himself.

What Does It Mean?

Again, this story is so rare in world folklore that it’s difficult to even find examples. On fleeting occasions that the woman chooses an untransformed beast, it is presented as a cautionary tale. These women are framed as a danger to the community for their bestial impulses and abandonment of the social order, much like witches who were said to consort with the devil. It was certainly never presented as a happy ending, insofar as we can tell from written accounts.

So what does the emergence of this tale mean for our culture? I would argue that this is just the latest step in our ongoing reckoning with historic gender roles, as well as renegotiating with other forms of systemic oppression. People of all genders are pressured to reject a part of ourselves, cutting us off from our own truth and desires that run counter to the enforced social order. We must not challenge patriarchy, must not embrace different gender expressions, must not blur established hierarchies of power, must not find joy and power in our identities, and so on.

This enforced denial does tremendous damage to everyone caught in the system, and so through story, we dream our way to escape. We dream of embracing the dark, wild parts of ourselves, of flying free on a spaceship or a dragon or enchanted horseback, and of being totally loved for who we are.

It’s clear patriarchy is still fighting back against this emancipation of the wild feminine and wild masculine, given that both The Acolyte and My Lady Jane were canceled not long after their release. In the case of The Acolyte in particular, there was a sustained campaign from its announcement to harass and silence the creators. Demoralizing as this phenomenon may be, it’s important to remember WHO ultimately owns these stories:

“Fanfiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.

-Henry Jenkins, NYT 1997

Ah, an oldie-but-goodie. But Dr. Jenkins is right. Corporations may greenlight, film, release, and then cancel these stories, but ultimately they belong to the people. We take from these tales what speaks to us, leave what does not, and then retell them ourselves in fanfiction, in art inspired by the stories, and in lessons we pass on to our friends and families. If the embrace of the wild masculine speaks to you, let the story take root in your own life. Do you know someone who needs to be embraced, just as they are? Do you need to accept the parts of yourself that society tells you to hate? Do you want to be free, healed, and whole?

If so, then let these stories show you how, and tell more like them. Embrace the beast, and find your joy.

Sources:

Beauty and the Beast Tales From Around the World by Heidi Anne Heiner

In Search of the Swan Maiden: A Narrative on Folklore and Gender by Barbara Fass Leavy

And a relevant song for you, as a treat:

Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estés, Ph.D.

[jstor]

Hello, JSTOR!

Would you have any collections of fairy tales and folktales? Or articles about their origins?

Here's a search we ran for open access fairy tale content, and another for open access folktale content 🧌

[thefugitivesaint]

Arthur Rackham (1867-1939), 'Thyl Ulenspiegel and The Seven', ''The Allies Fairy Book'', 1916 Source

[illustratus]

A Saint, from the 'Jackdaw of Rheims' by Briton Rivière

[artist-issues]

Rise of the Guardians doesn’t lend itself to a sequel.

But if they made one, the villain should be The Pied Piper. And instead of endangering kids’ childhood using fear, like the Boogeyman, The Piper would endanger childhood by causing strife with the parents, making the kids feel like they don’t belong in their own homes.

Plus he’s enticing kids with wanderlust, which sounds fun, so he starts to feel like the photo-negative of Jack Frost and definitely tries to outdo him in terms of style and flamboyant charm. And maybe because he knows “memories of childhood” would be a big threat to his work on the parents, the Piper straight-up kidnaps Tooth Fairy (since kidnapping the fairies themselves didn’t work out for Pitch)

And then you can have Bunnymund and Jack Frost fighting armies of super rats and Sandman trying to hold his sand-constructs together as the Pied Piper’s musical vibrations destabilize them, and then North seems to be the only one who’s a match for the Piper in group showdowns, until the Piper summons his chief hench-rat and it’s the Mouse King from the Nutcracker

I know Rise of the Guardians can’t have sequels

but in this pitch I will—

[dinoberrypress]

Little Wolves is crowdfunding NOW!

It's finally here, y'all! The crowdfunding campaign for our tabletop RPG of folk tales, fae queens, and werewolves is live on Backerkit~

Support our work here!

From the award-winning publisher behind Motel Spooky-Nine, You’re In Space And Everything’s Fucked, Dinocar and more, Little Wolves is a tabletop role-playing game about adventuring through a realm of folk & fae as shapeshifting werewolves.

In Little Wolves, you’ll craft real-world paper masks that represent their characters, modifying them over the course of their adventures to reflect the marks their experiences leave on them while transforming between your Wolf and Mortal forms!

The crowdfunding campaign aims to bring the game’s vivid world to life in an 8.5” x 8.5” full-color perfect bound book loaded with gorgeous art from a team of 4 artists accompanying setting & mechanics from award-winning designers Julie-Anne Muñoz and Nevyn Holmes. 

The crowdfunding campaign launches May 14th, running through June 11th, 12pm US Central with an initial funding goal of $19,500 USD with plenty of stretch goals to unlock for more art, more content, and even an expansion!

Making masks & shifting forms

In your Wolf form, you have access to the benefits of your beastly Attributes, can sing magical Spellsongs, and can resist harm with your Resolve. In your Mortal form, you'll switch your Attributes, Spellsongs, and Resolve out for strong, flexible Mortal Powers that can turn the tide of any situation they're used in. Through character advancement, you can strengthen yourself as you see fit. Perhaps you favor one form over the other, or you may switch between them frequently. The choice is yours.

The Enchanted Forest

As you explore this dense forest you'll meet the powerful and mysterious Queens and aid them, and their courts, through all manner of quests and favors. As a werewolf, you're uniquely gifted in traversing the forest, capable of making it to every edge of the woods, meaning that only you can learn its deepest secrets.

✨ A free demo/quickstart for Little Wolves is available to download and play, get it here! ✨

[achieve-the-sun]

Bestfriends hanging out✨

+ doodle under the cut

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Flying Carpet, 1880 - oil on canvas. — Viktor Vasnetsov (Russian, 1848-1926)

[life-imitates-art-far-more]

Henry Liverseege (1802-1832) "Little Red Riding Hood" (1830) Oil on canvas

[whereserpentswalk]

There is a pawn shop run by the fae. It exists in every city in the country, perhaps every city on the planet. To get there you just have to draw an open sign on an abandoned store, and wait until 3:00 in the morning, and walk in. It's just a handful of autumn fae who man the shop, but they say their boss is one of the most powerful fae spirits there is.

The fae do not deal in money, they deal in aspects. You can pawn off any aspect of yourself, or occasionally a very valuable item (though it's up in the air what the fae consider valuable) for store credit. And then you can spend the store credit to get things others have pawned off to the fae. People can gain a lot from such a store, but they'll have to lose a lot in turn. And those who try to chest the fae or steal from them end up with truly terrifying consequences.

There have been people who have used the store as a way of getting out of consequences. There was a man in Atlantic City so deep in debt that he feared the loan sharks would kill his family, and he went to the fae. They sold him a magic lantern, so beautiful and powerful he could sell it and become a millionaire. But he had to pawn off his identity and past to get it, and not a single person who knew him would recognize or remember him the momment he left the shop. His family was safe and debt was gone, and it was worth it, and he would watch them from the shadows at times. Though his fate became worse when someone else walked into the shop and bought his past, and got to be his wife's husband and his children's father instead.

Sometimes the true consequences aren't always obvious. There was a child in Boston who had come into the store, and sold her future womanhood to the fae for the best candy bars in the world. For years she didn't know she was going to face any consequence, but when she reached adolescence she didn't go through puberty, to doctors it seemed as if her womb had faded into nothing, and nothing they injected her with worked. As an adult she tried to get it back but learned it had been pawned off to someone who wanted it more then she ever could know.

All the way up in Vermont there was a preacher who wanted to know the true nature of the universe and how it was created, so he could convince people of his religion with perfect knowledge instead of just faith. He pawned the bones of ancient saints to the fae just to get it, and seemed so happy with himself. But when he found out the truth he screamed for days upon days, wandering the woods in terror. When he came to his senses again he said he didn't want to burden anyone with such knowledge, and chose to never speak of religion again.

There was a woman in Brooklyn who had been kicked out of one of the city's greatest underground wizarding schools, who went to the fae shop to try to get phenomenal cosmic power, and eternal life. She sold off the most valuable thing she thought she had, her ability to fall in love (most fae who worked that shop would have given her more credit for her fancy hat but she didn't know that). She thought she would one day earn it back, and she thought that the fate that she was given would destroy her humanity until she got it back. But she ended up being fine with her new way of living in the world, she just started seeing her former boyfriend as her best freind instead, and was still able to form connections and live a good life. She never went back for her romantic attraction, it wouldn't be worth it anyway, (and it was sold off to a vampire anyway but that's a whole other story).

There was even someone out in Connecticut who tried to become the most powerful person in the world by making deals with the fae shop. He started out by agreeing that he would trade a finger for the power to fly, and then he agreed that he'd let them take more and more of his body for the sake of getting more and more powers that the shop had laying around. And when it was all over with and he walked out with so many powers, all that was left of him with a single drop of blood, but it was the most powerful drop of blood in North America.

That's just how it is sometimes.