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November 21, 2017

Message in a Bottle by Marcia Sherman

There is no such thing as free, and there is always a payment of some sort...

It was advertised as free, but there is no such thing as free. There is always a payment of some sort. The price was not told until after she had arrived and been settled in. That gave her pause. She kept thinking of why she wanted to put herself through this - to better herself, to become what she wished for. To become what he needed.

Her family had tried to talk her out of it. Every argument ended with one truth: they would all be better off because all her sorrow, and the sadness they felt for her, would stop. Even if her family did not support her, the look in his eyes when she told him of this possibility was all the encouragement she needed.

The first night she lay under the window, and she looked at the stars. Waves lapped the shore outside while she contemplated her options. Even as she decided there was a tap at the door and they entered. Two of them – check here, check there, mark this. Here are your copies, witnessed and notarized. A few explanations of the rules and they left her alone again, with one big surprise. She was to be paid, and handsomely so. She thought her reward was the treatment. But no, they actually paid for leaving behind old ways. That took a little of the sting out of it.

It was not painful; well, not too painful.  Dizziness, bone tired, thirst – water never tasted so good. By the end of the tenth day she was able to walk steadily to the toilet. A few days later she could make it to the kitchen without hugging the walls like a barnacle. Clothing was provided, clean and soft. Cotton lined shoes, as light as sea foam. Nice of them to realize her skin would be sensitive. Daily exercise was required in the contract. She walked barefoot up and down the beach in front of the weathered little house. She rested on the porch and watched the storms over the ocean– they looked different somehow. Three weeks in her appetite returned. The food in the larder was fresh and plentiful. She grew especially fond of salad greens and fruit. The fish she discovered to be too oily.

To pass the time she read the books left for her. One morning she discovered a journal and pens. At first she found it almost as hard to write as it had been to get out of bed. Soon, however, she began to record her day’s events. Every day, almost every waking moment, she thought of him. Every night in her dreams they talked and kissed and touched. She wrote to him, letters full of promises and longing; and counted down the days until they would be together. Finally, after many, many weeks that day came.

In preparation for leaving, she cleaned and put the house to rights. A satchel appeared and she packed clothing and shoes, journal and letters, a few books, her shell collection. Before he was scheduled to arrive she sat in her favorite spot on the porch, and composed a letter to her family. They needed to know the treatment was successful, she was healthy and whole. When he appeared on the rise behind the house, how her heart sang. He ran down the dune, laughing, and engulfed her in his arms. Her kiss told him all he needed to know.

“Speechless with happiness, my pearl?”

She pressed the contract into his hands, when he finished reading he looked in her eyes with concern and compassion.

“So, this was the payment. I can walk with you now. I can admire your strong lovely body. But never again can I hear you say my name or whisper your love. Oh sweet, little fish – I will just have to do the talking for both of us. What’s this bottle? Ah, I see…” and he threw it far into the ocean “…only way to get a message to your family now. Time and tide should act as any land bound mail service, for sure.”

Ariel watched the bobbing glass submerge and a tail fin flick above the surface. A single tear fell, salty as the ocean. Then she and Eric turned and walked up the dune to their happily ever after.

Marcia A. Sherman is Mama to one perfect Rose.She writes for Llewellyn Publishing under the name of Emyme, has self-published the children's book The Splendid, Blended Family, and is writing the Great American Wiccan Novel.

Story ART by: Amanda Bergloff


A Consideration of Fairy Tales in Context of Memento Mori by Kiyomi A. Gaines


Memento mori were objects common in Medieval Europe, through the Victorian era, designed to remind one of death, and perhaps, relieve anxiety or guilt over good fortune, since many were luxury items. Although we now talk about stories being sweetened with bloodless conflict and happily-ever-afters, in the early-modern era virtue might be added to otherwise frivolous entertainment by invoking Death.

The shape of memento mori changed over time; however, whether painting, performance, or ornament, their function remained static. They were intended to remind individuals of the fleeting nature of life, of physical decay and anonymity, and the importance of living a good life. Depictions were intentionally general, designed such that anyone should be able to put themselves into the position of the dead and dying. In the Danse Macabre, we see everyone from pope and prince, to humble pauper and children, following Death. Memento mori objects typically feature one side representing the fullness of life, and the other, a grinning skull; or skeletal remains hidden within opulent jewelry. In memento mori poetry, there is a reflection on joy, the reminder and fear of death, and ultimate reassurance that all will be well, so long as one has lived rightly according to the Church.

Fairy tales contain information about how to live; many traditional fairy tales center on the themes of women's lives, making hearth and home, old women's wisdom, spinning and weaving, picking a husband. As much as they convey about how to manage life, they also convey the harsher realities of illness and privation, hunger, cold, abuse, and death.

Though it's not likely that death was added after the fact to "clean up" a story, the presence of death would have made these stories more palatable forms of entertainment. Particularly since so many of these stories center around young women who, while good, modest, and obedient, are also courageous, strong, and independent. Young women are reminded at their mother's side as they learn women's work, of the consequences of straying beyond a woman's place. Like memento mori, fairy tale heroes are unspecific, inviting personal identification.

Although we can't date these stories in their origins, the earliest written version of Sleeping Beauty is from the 1300s. Memento mori were common throughout Europe from about the 14th century as well; both swelling in popularity during the Victorian era, before dropping off.

I consider two tales in the context of memento mori, as concurrent systems of transmission on how to live a good life: Snow White (ATU 709) and Sleeping Beauty(ATU 410).

Both stories begin with a young woman longing to be a mother. She prays for a child and her prayer is answered in the form of a beautiful daughter. This child grows in beauty and grace, and the mother dies, or is otherwise removed from the story. A malevolent female force envies the young woman, and using the tools of women's life, causes her to fall into a deep sleep that resembles death.

While the young woman never undergoes decay, her apparent death brings about a significant pause in the action taking place amidst circumstances of relative privilege, and the young woman's faithful pursuit of those traditionally prescribed womanly duties. Notably, death does not come only to the wicked or old, but the young and pure of heart. The young woman is then awoken by a kiss (or her nursing children) and takes on her prescribed role in society as wife and mother.

Memento mori combine the freshness of youthful life with the ravages of death in a shared transmission, enjoining one to right living, much as these tales do. In this context, fairy tales can be seen as continuing and supporting similar themes and reinforcing these structures. Perault often explicitly assigned such motives to his stories, and the very morbidity of certain tales may have served as their redeeming grace. Thus, fairy tales may also be understood, in the context of memento mori, to serve for early-modern listeners as reminders of the fleetingness of life, and the importance of holding to prescribed social mores and expectations in order to live a good life, and to assure a good afterlife.

These old stories have often been retold in many ways, reshaped and reinterpreted by their tellers, and listeners, and the times in which they are told. Rather than making any telling "wrong," that growth and evolution give each story life, lending us a living canon of old wisdom and wonder.


Kiyomi Appleton Gaines loves folklore and fairy tales for what they teach us about what it means to be human.  Her writing can be found at workofheartkag.wordpress.com.  She lives in New Orleans with her husband, and two fish.





The Golden Age of Illustration - Kay Nielsen & Arthur Rackham

This month, EC is shining a spotlight on two of our favorite European artists from The Golden Age of Illustration (1880s - 1920s) - Kay Nielsen and Arthur Rackham.

Both Nielsen and Rackham's art was influenced by the Arts and Crafts movement, Art Nouveau, and the Pre-Raphaelite and Post Impressionist artists of their time, and Nielsen and Rackham, in turn, have influenced modern illustrators, as well.

Read more about them and see some of their art below:

Kay Nielsen
Kay Rasmus Nielsen (March 12, 1886 - June 21, 1957) was a Danish illustrator who was popular in the early 20th century.

After studying art in Paris from 1904 to 1911, Nielsen moved to England where he received his first commission from Hodder and Stroughton in 1913 to illustrate a collection of fairy tales. His 24 color plates and 15 monotone illustrations for the book, In Powder and Crinoline, Fairy Tales Retold by Sir Arthur Quiller-Couch, led to The Illustrated London News hiring him to produce illustrations for the tales of Charles Perrault (Sleeping Beauty, Puss in Boots, Cinderella, and Bluebeard) for their 1913 Christmas edition.

From 1914 to 1925, Nielsen produced illustrations for several books including East of the Sun and West of the Moon; Fairy Tales by Hans Christian Andersen; and Hansel and Gretel and Other Stories by the Brothers Grimm. He also worked, during this time, for the Royal Danish Theatre in Copenhagen where he painted stage scenery.

In 1937, after moving to California, he was hired by the Walt Disney Company where his art was used in the film, Fantasia, in the "Ave Maria" and "Night on Bald Mountain" sequences.

To me, Kay Nielsen's striking art has a timeless, graphic quality that still speaks to modern viewers. Check out his art below:
from East of the Sun and West of the Moon 1914
Kay Nielsen
L'art Magique 1913
Kay Nielsen
from The 12 Dancing Princesses 1913
Kay Nielsen
from In Powder and Crinoline 1913
Kay Nielsen
Special thanks to our guest art editors:
Christina Johnson
and Teresa Robeson

Arthur Rackham
Arthur Rackham (September 18, 1867 - September 6, 1939) is widely regarded as one of the leading illustrators from the Golden Age of British book illustration. His work is seen as a fusion of a northern European Nordic style with the Japanese woodblock tradition of the early 19th century. His background in journalistic illustration, combined with a subtle use of watercolor created a unique look that was able to be mass produced in high quality illustrated books due to technological developments in photographic reproduction.

Notable works of his include his illustrations for Peter Pan by J.M. Barrie, Gulliver's Travels by Jonathan Swift, A Midsummer Night's Dream by William Shakespeare, Alice's Adventures in Wonderland by Lewis Carroll, The Sleeping Beauty by Charles Perrault and the Brothers Grimm, The Valkyrie by Richard Wagner, and many more.

Rackham's art defined how fairy tales looked inside my mind, and his work still resonates with fairy tale enthusiasts all over the world. Check out his art below:
Little Red Riding Hood 1908
Arthur Rackham
from Jack and the Beanstalk 1918
Arthur Rackham
The Old Woman in the Wood 1917
Arthur Rackham
from Undine 1909
Arthur Rackham
Special thanks to our guest art editors:
Jude Tulli
and Kevin Hopson

Let us know your favorites in the Comments section below.

Fairy Tale Flash - Beloved

All the assembled Elementals held their breath and waited...

Air waited impatiently, stamping her feet on the ground.

Fire wondered aloud why they were always kept waiting.

Earth said it had always been this way.

Winter moved off on the horizon and disappeared.

All was still.

A curtain of mist fell across the landscape, and the assembled Elementals all held their breath.

Then, the curtain parted, and she stepped from the Beyond in a delicate shimmering cloak that glittered with all the power of starlight and dreaming. Droplets of water most pure intertwined to form the sheer silver fabric that took four maidens to hold up

It was time for the flowers and the land to be awakened, and only her touch could do it.

All bowed before the Lady Kiyomi when she walked by, and she nodded in their direction.

Where she passed, gentle rain called the flowers forth.
Air, Fire, and Earth all sighed. They knew they were in the presence of pure endless beauty, and their beloved one had returned.

The wait had been worth it, and the world bloomed into its Ethereal Spring.

Special Thanks to Kiyomi A. Gaines for supporting EC.

Story and Art by Amanda Bergloff



Fairy Tale Flash - Braids

The tale of a shortcut, a witch, and braids...

Once, there were three sisters with braids the color of summer wheat who went to gather herbs far from home. Their mother told them to stay on the main path so they would be home before dark, but the sisters chose to take a shortcut.

Soon, they came to a bridge over a cascading stream that a hairless witch guarded.

The youngest sister, Karina, walked ahead of her two sisters.

“Wait here. I will call to you when it is your turn to cross the bridge,” she said.

Karina approached the witch. “Will you allow me to cross your bridge, so that I can get home before dark?” Karina asked.

The hairless witch shook her head. “No, for I am in need of hair, and your golden braid would be perfect for my head.”

“But my braid is not very long. If you allow me to cross the bridge, I will call to my sister, Emyme, that the way is safe. She has longer braids than mine that will surely fit your head better.”

The witch nodded and let Karina cross the bridge. When she was on the other side, Karina called to her sister, Emyme.

The witch stopped Emyme at the bridge and admired Emyme’s longer braids that reached all the way down her back.

“If you allow me to cross your bridge, witch, I will call to my sister, Brita, that the way is safe. Her braids are so long, they are piled up on top of her head just so she can walk without tripping on them.”

The witch nodded and let Emyme cross the bridge. When she was on the other side, Emyme called to her sister, Brita.

The hairless witch’s eyes grew big as saucers as Brita approached, for her braids were indeed piled high on her head.

Karina and Emyme watched Brita from the other side of the bridge and yelled, “Brita, let your braids down!”

And Brita did. Her braids dropped to the ground so hard, it shook, and the witch was knocked into the cascading stream, never to be heard from again.

However, it took Karina and Emyme many hours to pile Brita’s braids back up onto her head, so they could continue walking home. Their shortcut made them reach their home long after dark, and the three sisters wished they had stayed on their original path.


Special Thanks to Charity Tahmaseb, Marcia Sherman aka Emyme, and Brita Long for supporting EC.

Story and Art by Amanda Bergloff

The Golden Age of Illustration - 3 Female Artists from England

The Golden Age of Illustration (1880s - 1920s) produced some wonderful female artists from England that we're featuring here, starting with Beatrix Potter:

Beatrix Potter
Beatrix Potter (July 8, 1866 - December 22, 1943) was an English illustrator, writer, natural scientist, and conservationist. Her children's books featuring animals, such as The Tale of Peter Rabbit, are what she is best known for.

Growing up, Potter's love of landscape, flora, and fauna, is what led her to develop her talents as a painter. She was thirty years old when she published, The Tale of Peter Rabbit, and after the success of that book, she began writing and illustrating children's books full-time.

Potter wrote about 30 books during her lifetime - 24 of those being children's tales such as The Tale of Benjamin Bunny, The Tale of Tom Kitten, The Tale of Jemima Puddle-Duck, The Tale of Mr. Jeremy Fisher, and others.

Her charming illustrations were always some of my favorites growing up, and I still have the books I originally read on my bookshelves today. Check out some of her art below:
The Tale of Peter Rabbit 1902
Beatrix Potter
from The Tale of Tom Kitten 1907
Beatrix Potter
from The Tale of Jemima Puddle-Duck 1908
Beatrix Potter
from The Tale of Peter Rabbit 1907
Beatrix Potter

Special thanks to our guest art editor:
Brita Long

Millicent Sowerby
Amy Millicent Sowerby (1878 - 1967) was an English painter and illustrator and was one of the first women to illustrate Lewis Carroll's Alice's Adventures in Wonderland in 1907.

Sowerby took some art classes, but was largely self-taught. Her work was initially influenced by the Arts and Crafts movement, along with artists such as Thomas Crane and Kate Greenaway.

She is also known for her illustrations for A Child's Garden of Verses by Robert Louis Stevenson in 1911, her postcards featuring nursery rhymes, children, and Shakespearean scenes, and children's books created with her sister, Githa Sowerby.

Sowerby's art is beautifully fanciful and detail oriented. Check it out below:

Fairy Babies 1910
Millicent Sowerby

Little Bo Peep 1908
Millicent Sowerby

from Alice in Wonderland 1907
Millicent Sowerby

from Alice in Wonderland 1907
Millicent Sowerby

Special thanks to guest art editor:
Stephanie Goloway
and Deby Fredericks

Kate Greenaway

Kate Greenaway (March 17, 1845 - November 6, 1901) was a Victorian children's book illustrator and writer whose work influenced the children's style of the day.

Her first book, Under the Window, was an instant best seller and was followed by other successful books, including Mother Goose (1881) and Little Ann (1883.) She also developed a career as a water-colorist with illustrators Walter Crane and Randolph Caldecott.

Greenaway illustrated over 150 books, and two of them were ones that she both wrote and illustrated: Under the Window and Marigold Garden. By the late nineteenth century, her illustrations of children were so popular that Liberty of London adapted her drawings as designs for actual children's clothes.

Her graceful art evokes a nostalgia to read old nursery rhyme books with a cup of tea on a Sunday afternoon. Check out her lovely art below:
Mother Goose Nursery Rhymes 1910
Kate Greenaway

December 1890
Kate Greenaway

from The Baby's Opera 1877
Kate Greenaway

from Marigold Garden 1885
Kate Greenaway

Special thanks to our guest art editor:
Lissa Sloan

Let us know your favorites in the Comments section below.

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