Whose folktale is it anyway?

Bookends in The Sunday Observer of August 10, carried a piece by me on Ebony and the Auntie of the Starlight, a Caribbean Cinderella story. The content  was much like my blog of August 6, for those who want to see the local elements I introduced into the story.

The piece in the newspaper got me to thinking about folktales, the desire to rewrite some in our own image, the recording/rewriting  of our own.  There are many Cinderella stories, most, it would seem, originating from the societies in which they are located. Amazon has a  number of them,  including another Caribbean Cinderella by Robert Sans Souci (wonderful artwork), which I think is set in the French speaking Caribbean. I have not read it recently, and regrettably, do not own a copy.

When I was doing my MEd. research (not that long ago) I found that the teachers I interviewed had not been exposed to many Jamaican/Caribbean children’s books, which was distressing, but not that surprising. Interesting however, was one teacher’s response to my question about what she perceived to be our cultural heritage of children’s stories/material ( as well as Anancy). She said that Bible stories were part of our heritage because that’s what we grew up with, and so were traditional European fairy tales/folktales, for the same reason. I know, many of you are cringing. However, perception is reality.

Consequently, this could be a case for rewriting some of the traditional folktales in 'our own image'.  Cynically, I suspect that any rewritten ones would  not catch on. What can compare with the folktale characters, renamed as the ‘Princesses’ by Disney, with massive marketing of everything that can possibly be connected to them?  I have  attached to this post  covers  from two books written by  author /illustrator, the late Fred Crump Jr. (American)  in the 1980s/1990s. They are traditional fairy tales  with Black characters for African American children. These are from my collection of children’s books. I wonder how well these books did; he wrote a number. I googled him and found that he had one called Ebonita and the Seven Boys (my Ebony and his Ebonita). And no, I did not read his Cinderella  when I was writing Ebony and the Auntie of the Starlight. I haven’t looked at it in years. Moreover, I never read anything similar to what I’m writing, at any given time.

We, as minorities/majorities, depending on where we live,  may wish to rewrite the traditional fairy tales/folktales in the hope that  some children will read them and be inspired to greater self confidence, or even be moved to rewrite some themselves (perhaps  modern ones with 'lego type' figures). However, I suspect that any such endeavour would  not meet with much success, except for the exercise itself.

Clearly, it would seem that writing our own folktales would be the best way to go. And indeed at a workshop I facilitated with an overseas YA writer earlier this year, it was suggested that we have so much folklore (and by extension, folklore figures)  that we can create all sorts of exciting stories waiting to be discovered. This sounds wonderfully simple.  The problem I see with this is that many of our folklore figures are extremely malevolent.  Here in Jamaica, rolling-calf with eyes as red as coals dragging his rattling  chain; three-foot horse, which even with that handicap, or perhaps because of it,  will surely catch you;  Ol  Hige, shedding her skin;  River Mumma, at whom you shouldn’t look because  she could drag you down into the river; these are not the stuff of delightful children’s stories. And these are only the ones from Jamaica. Some of them from other territories in the Caribbean are even more frightening; soucouyant,  a shape-shifting blood sucking creature, or douens without faces and feet turned backwards, who lure children into the forest, for them never to be seen again. I think that our folklore is still too threatening, too close to us. European folklore was no doubt just as terrifying; witches and dragons, and wolves and beasts, but over the years they have been sanitized, and are seen as being from a very distant past, with no ability to frighten us anymore. In addition, they seem to lend themselves to being overcome by knights in shining armour, brave woodcutters, clever children and magical kisses. I know of no story of ours where anybody has been able to overcome anything, because ours speak to the supernatural, which one cannot overcome without a priest/parson,  calling on the blood of Jesus,  or some other religious activity. And I’m not being at all flippant.

This leaves us with good old Anancy and his comrades in mischief/deceit, Brer Tiger, Brer Rabbit, Brer Alligator, and so on. I enjoyed Anancy stories as child; the week overcoming the oppressor. These served the slaves well. However,  Anancy was also not averse to tricking his wife and children. This trickster side of Anancy, this ‘samfie’ side, may well be out of place as we move forward. The first time I heard this proposed (some years ago) I was horrified. What! Our precious Anancy! Never! Now, I’m not too sure. Time for samfie to be over and done with as a national construct? Never mind, guys. Calm your fluttering hearts. Anancy will probably always be with us.

It is against this background that I created Auntie of the Starlight, and she makes her second appearance in Ebony and the Auntie of the Starlight, a Caribbean Cinderella story, as a benevolent ‘fairy godmother’, although one that is somewhat annoyed with  silliness, like you not realising your worth. I must also point out that Helen Williams, (Bill Elm) made wonderful use of River Mumma in Delroy in the Marog Kingdom (Macmillan). Note however, that that book  is for an older child, and not for the Cinderella/Snow White generation. (Yes, I know the Cinderella story has lent itself to teenage movies, but you guys, know I’m not talking about that.)

I’d love to get feedback on this, the use of our own creatures/folklore in stories for younger children. I plan to follow this post with others on multicultural children’s literature, so we might find a connection. There have been recent  articles on this topic of children needing to see themselves in books, by Malorie Blackman in the UK and  the late Walter Dean Myers (USA) and his son.

Despatches: A successful upload; another endeavour disappointing: Rethinking endeavours; to do or not to do

Now why should you read this post? It may be much ado about nothing. Aha, maybe that’s why you should read it; in case it isn’t.

Successful upload. As you know (those who may follow my blog) Ebony and the Auntie of the Starlight, a Caribbean Cinderella story was uploaded to Amazon. Then  on Sunday, August 10, the Observer newspaper highlighted it in Bookends. I was very pleased.

Disappointment: I saw the PDF of Things I Like. I did not like my painting of the illustrations at all. At all! They looked lovely when I painted them, even when I put them on my blog, but stand alone in a book. No sir! I saw every miss-stroke of the brush, every distortion of an image.  The idea was to  produce the PDF  and get a corporate sponsor for copies for basic schools. Well, I’d be embarrassed to own these images. My designer did  her best. I was so overwhelmed (not to tears, or anything like that), just so astonished, that all I could say to her, is ‘stop there while I think about this’.

There are lessons to be learnt here.

1.       A Level Art does not make you an artist or illustrator.

2.       Four hours of painting lessons year before last, does not get you back to A Level standard, which does not  . . . anyway.

3.       There is a reason why they have illustrators for children’s books.

4.      You may never be able to turn yourself into a painter or illustrator for your own books. Accept that!

So what do I do now?

1.       Clearly I should ask my designer if she can just colour the pictures with Photoshop or something.

2.       Give up the idea of the book and feel ‘pale and wan’ (check the literature we read in school for explanation of the term) about any such endeavour.

3.       Perhaps ask about new illustrations for the text. What a frantic thought!

Well, clearly, I’ll go with #1 first. The fact that I have not done it yet speaks volumes although I cannot hear what is being said.

This post would seem to be all about my angst; much ado about nothing, indeed. However I think it speaks to some very important concerns, none of them new,  but the ability to self-publish underscores them.

The most important is how do you get the money to self-publish what you want to publish, or in my case, republish? People have been asking me why I don’t seek crowdfunding. To show how up-to-date I am on the concept,  I was about to write 'cloud funding' (naturally, things are stored in a cloud, so clearly, .  .  .  ) when a little voice said, “Look it up!”  Eh! Eh! But is a whole world out there of crowdfunding. So many sites. I would of course be shy/too proud/can’t wrap my head around the concept of people I don’t know supporting me, and on and on into further  angst.

I think one of my biggest challenges right now is do I want to continue to try to  break these new barriers, of this new digital  world, and I really hate this being in the spotlight of doing things, doing them differently (no doubt, that is why I write a blog, eh!), or do I want to retreat into the dignity of the ‘pure writer’ who must always be published by a well know publisher to be considered to be a serious, pure, mature writer? To do or not to do; to be or not to be.

This is a case of pure confusion. I’m going to put it down and come back to it another time. Any ideas would be welcome, guys! 

Next post will be about more mature matters.