Take a photo of a barcode or cover
A review by books_n_pickles
Snow White, Blood Red by Ellen Datlow, Terri Windling
3.0
It took a little time for me to warm up to this one--almost half the book, really. A lot of the first stories just felt like rote retellings, without an interesting twist or resetting. But once I hit "The Princess in the Tower," things picked up and I found I enjoyed a greater proportion of the stories. These were the ones I enjoyed:
Snow-Drop, by Tanith Lee
A near-future sci-fi take on "Snow White" from the perspective of the stepmother, in this case the wife of an absent business man whose house is filled with his late wife's paintings of the lovely daughter she never had. Christena's dislike of these paintings spreads to an obsession with the lead performer of a circus troupe. I enjoyed the twists and turns that kept this story from being a straightforward, plot point by plot point retelling.
The Princess in the Tower, by Elizabeth A. Lynn
In a book supposedly themed around horror, this spin on "Rapunzel" was instead funny and light. There is no tower here—just a beautiful valley somewhere in Italy where the pasta-obsessed residents decide that Margheritina is so slim (and, therefore, ugly) compared to the properly carb-enhanced beauties around her that she must be quite mad. Margheritina takes to the role with aplomb and enjoys herself immensely until she finds someone who can show her a more forgiving world. Yes, she is still physically rescued by her "prince," but she also rescues herself by embracing her differences within the closed-minded valley and her skills once she leaves it.
Persimmon, by Harvey Jacobs
A wild ride of a scifi remix of "Thumbelina" set sort of vaguely in the modern day, with heavy overtones of death and life, as well as droll awareness of the gender issues in fairy tales. Not quite as overtly humorous as "The Princess in the Tower," but certainly full of irony and wry wit.
Troll Bridge, by Neil Gaiman (because of course)
Am I ever going to find something by Neil Gaiman that I don't like? Probably not. Maybe this is a departure from "The Three Billy Goats Gruff," but our "goat" is very human…maybe too much so, in his own opinion. Powerful childhood imaginings and wanderings turn into adulthood's more rote and spiritual/philosophical wanderings. Readers of [b:The Ocean at the End of the Lane|15783514|The Ocean at the End of the Lane|Neil Gaiman|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1497098563l/15783514._SY75_.jpg|21500681] may recognize some of the vaguely autobiographical details Gaiman has included about the unnamed narrator's childhood.
A Sound, Like Angels Singing, by Leonard Ryskyk
Don't read this one if you're squeamish! It might take you a while to figure out who—or what—the narrator is, but in the meantime there's a lot of gore and meat. Spoilers here, since part of what makes this short entry so fascinating is how long it takes to figure out the twists:
Puss, by Ester M. Friesner
I absolutely loved this one! Friesner's take on "Puss in Boots" is a little longer, which gave it plenty of time to build up a fascinating world of magic beings. Like "A Sound, Like Angels Singing," it's pretty brutal, but more personally, with. But really, how can a cat lover like me resist a story told from the perspective of a powerful being that has taken up residence in the form of a cat? My only beef was at the very end, when
The Snow Queen, by Patricia A. McKillip
As in the original, Gerda finds her strength on her own: "To be interesting, you must be interested" (p. 316). There's a lot of fun play on language, not just words but grammar as well. The side characters are delightful: the thief-not-quite-turned-respectable business partner, the overbearing Foxx, even the Snow Queen in her boredom. Oh, and there's this poignant bit in which an unexpected champion comes to Gerda's rescue: "You're not used to fending, so you don't have the habit. So what you have to do is start pretending you have something to live for. … If you keep pretending and pretending, one day you'll stumble onto something you care to live for. .. You only have to do it one day at a time. Always just today. That's all any of us do." (p. 322-323)
A few notes:
>> "I Shall Do Thee Mischief in the Wood" had a great twist at the end of the "Red Riding Hood" story, but I wish there'd been a little bit more to it—most of the story was buildup, if not particularly suspenseful, and while I don't want the ending spelled out, I could have used another paragraph or two.
>> I felt the delightful concept of "The Springfield Swans"—that the seven [plus, in this story] sons in "The Seven Swans" made up a baseball team—was better than the straightforward execution.
>> In "The Root Mother," I loved the first section, which was "Rapunzel" from the witch's point of view, but I felt like the rest of the story fell flat into straight-up retelling, and that much of the (what I felt was strong) groundwork laid for the witch's character was undone in a few casual sentences from the next narrator. Granted, this might have been because she was a teenager, but still…
>> And finally, Wendy Wheeler's "Little Red": Look, I know a lot is said and made of the sexual undertones of fairy tales, especially Little Red Riding Hood, but I found Wheeler's story deeply disturbing. In this contemporary-ish tale, we have a Red Riding Hood character who is underage and actively responding to the "wolf's" seduction. I reread the story looking for some kind of critique of this pedophile or suggestion that he was misreading her desires, but if it was there, I didn't see it. Look, I know that 14-year-old kids may not be totally innocent and may be "trying on" the flirtation and sexuality that they see in the adult world around them, and the whole point of the "wolf" character is that any responsible adult should reject these advances. And I guess that's the story's point, that the narrator's lust and his response to Red are disgusting. But it was still sickening to read. As a piece of art that is meant to make the viewer/reader uncomfortable, it certainly succeeds. I guess this is the only story that felt like true horror to me--as in, it was the only one that built to a genuinely horrifying conclusion. The pedophiles and rapists in "I Shall Do Thee Mischief in the Wood", "Little Poucet" (also gross), and "Puss" (and others I may be forgetting) all had their comeuppances...but in "Little Red" we didn't get that. Maybe it's more realistic...but it's also what makes "Little Red" the worst kind of horror.
Snow-Drop, by Tanith Lee
A near-future sci-fi take on "Snow White" from the perspective of the stepmother, in this case the wife of an absent business man whose house is filled with his late wife's paintings of the lovely daughter she never had. Christena's dislike of these paintings spreads to an obsession with the lead performer of a circus troupe. I enjoyed the twists and turns that kept this story from being a straightforward, plot point by plot point retelling.
The Princess in the Tower, by Elizabeth A. Lynn
In a book supposedly themed around horror, this spin on "Rapunzel" was instead funny and light. There is no tower here—just a beautiful valley somewhere in Italy where the pasta-obsessed residents decide that Margheritina is so slim (and, therefore, ugly) compared to the properly carb-enhanced beauties around her that she must be quite mad. Margheritina takes to the role with aplomb and enjoys herself immensely until she finds someone who can show her a more forgiving world. Yes, she is still physically rescued by her "prince," but she also rescues herself by embracing her differences within the closed-minded valley and her skills once she leaves it.
Persimmon, by Harvey Jacobs
A wild ride of a scifi remix of "Thumbelina" set sort of vaguely in the modern day, with heavy overtones of death and life, as well as droll awareness of the gender issues in fairy tales. Not quite as overtly humorous as "The Princess in the Tower," but certainly full of irony and wry wit.
Troll Bridge, by Neil Gaiman (because of course)
Am I ever going to find something by Neil Gaiman that I don't like? Probably not. Maybe this is a departure from "The Three Billy Goats Gruff," but our "goat" is very human…maybe too much so, in his own opinion. Powerful childhood imaginings and wanderings turn into adulthood's more rote and spiritual/philosophical wanderings. Readers of [b:The Ocean at the End of the Lane|15783514|The Ocean at the End of the Lane|Neil Gaiman|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1497098563l/15783514._SY75_.jpg|21500681] may recognize some of the vaguely autobiographical details Gaiman has included about the unnamed narrator's childhood.
A Sound, Like Angels Singing, by Leonard Ryskyk
Don't read this one if you're squeamish! It might take you a while to figure out who—or what—the narrator is, but in the meantime there's a lot of gore and meat. Spoilers here, since part of what makes this short entry so fascinating is how long it takes to figure out the twists:
Spoiler
the narrator is a rat in "The Pied Piper".Puss, by Ester M. Friesner
I absolutely loved this one! Friesner's take on "Puss in Boots" is a little longer, which gave it plenty of time to build up a fascinating world of magic beings. Like "A Sound, Like Angels Singing," it's pretty brutal, but more personally, with
Spoiler
rape, graphic abuse, and violence both center- and off-stageSpoiler
the Puss character for some reason went from an agender being presenting as a feline female to a cisgender male human in order to be the princess's love interest. Is that really necessary when we've already established that the character isn't restricted to either?The Snow Queen, by Patricia A. McKillip
As in the original, Gerda finds her strength on her own: "To be interesting, you must be interested" (p. 316). There's a lot of fun play on language, not just words but grammar as well. The side characters are delightful: the thief-not-quite-turned-respectable business partner, the overbearing Foxx, even the Snow Queen in her boredom. Oh, and there's this poignant bit in which an unexpected champion comes to Gerda's rescue: "You're not used to fending, so you don't have the habit. So what you have to do is start pretending you have something to live for. … If you keep pretending and pretending, one day you'll stumble onto something you care to live for. .. You only have to do it one day at a time. Always just today. That's all any of us do." (p. 322-323)
A few notes:
>> "I Shall Do Thee Mischief in the Wood" had a great twist at the end of the "Red Riding Hood" story, but I wish there'd been a little bit more to it—most of the story was buildup, if not particularly suspenseful, and while I don't want the ending spelled out, I could have used another paragraph or two.
>> I felt the delightful concept of "The Springfield Swans"—that the seven [plus, in this story] sons in "The Seven Swans" made up a baseball team—was better than the straightforward execution.
>> In "The Root Mother," I loved the first section, which was "Rapunzel" from the witch's point of view, but I felt like the rest of the story fell flat into straight-up retelling, and that much of the (what I felt was strong) groundwork laid for the witch's character was undone in a few casual sentences from the next narrator. Granted, this might have been because she was a teenager, but still…
>> And finally, Wendy Wheeler's "Little Red": Look, I know a lot is said and made of the sexual undertones of fairy tales, especially Little Red Riding Hood, but I found Wheeler's story deeply disturbing. In this contemporary-ish tale, we have a Red Riding Hood character who is underage and actively responding to the "wolf's" seduction. I reread the story looking for some kind of critique of this pedophile or suggestion that he was misreading her desires, but if it was there, I didn't see it. Look, I know that 14-year-old kids may not be totally innocent and may be "trying on" the flirtation and sexuality that they see in the adult world around them, and the whole point of the "wolf" character is that any responsible adult should reject these advances. And I guess that's the story's point, that the narrator's lust and his response to Red are disgusting. But it was still sickening to read. As a piece of art that is meant to make the viewer/reader uncomfortable, it certainly succeeds. I guess this is the only story that felt like true horror to me--as in, it was the only one that built to a genuinely horrifying conclusion. The pedophiles and rapists in "I Shall Do Thee Mischief in the Wood", "Little Poucet" (also gross), and "Puss" (and others I may be forgetting) all had their comeuppances...but in "Little Red" we didn't get that. Maybe it's more realistic...but it's also what makes "Little Red" the worst kind of horror.