TODAY ONLY: Bargain Ebook: Girl, Serpent, Thorn by Melissa Bashardoust for $2.99

Girl, Serpent, Thorn by Melissa Bashardoust is on sale TODAY ONLY for $2.99 in ebook format. 

The author's note at the end of the book shares many of the influences for the story, including but not limited to, Sleeping Beauty, Rapunzel, Shahneameh (a legendary Persian epic), and much Persian folklore. 

Book description:

Melissa Bashardoust's Girl, Serpent, Thorn is “an alluring feminist fairy tale” (Kirkus) about a girl cursed to be poisonous to the touch and who discovers what power might lie in such a curse.

There was and there was not, as all stories begin, a princess cursed to be poisonous to the touch. But for Soraya, who has lived her life hidden away, apart from her family, safe only in her gardens, it’s not just a story.

As the day of her twin brother’s wedding approaches, Soraya must decide if she’s willing to step outside of the shadows for the first time. Below in the dungeon is a demon who holds knowledge that she craves, the answer to her freedom. And above is a young man who isn’t afraid of her, whose eyes linger not with fear, but with an understanding of who she is beneath the poison.

Soraya thought she knew her place in the world, but when her choices lead to consequences she never imagined, she begins to question who she is and who she is becoming...human or demon. Princess or monster.

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Folklore Bargain Books Today Only!

SurLaLune is not dead, it's just been hibernating. To get the new year--SurLaLune's 20th!--started, I am sharing some bargain ebooks that are available today only.

Treasury of Greek Mythology: Classic Stories of Gods, Goddesses, Heroes & Monsters by Donna Jo Napoli (Author) and‎ Christina Balit (Illustrator) is on sale for $1.99 today and Celtic Tales: Fairy Tales and Stories of Enchantment from Ireland, Scotland, Brittany, and Wales by Kate Forrester is on sale for $3.99.

Book description for Treasury of Greek Mythology: Classic Stories of Gods, Goddesses, Heroes & Monsters by Donna Jo Napoli (Author) and‎ Christina Balit (Illustrator):

School Library Journal Best Books of 2011

Eureka! Silver Honor Books—California Reading Association

Capitol Choices 2012 list of Noteworthy Titles for Children and Teens

2012 Notable Children's Books—ALSC

The new National Geographic Treasury of Greek Mythology offers timeless stories of Greek myths in a beautiful new volume. Brought to life with lyrical text by award-winning author Donna Jo Napoli and stunning artwork by award-winning illustrator Christina Balit, the tales of gods and goddesses such as Zeus, Aphrodite, Apollo, and Athena and heroes and monsters such as Helen of Troy, Perseus, and Medusa will fascinate and engage children’s imaginations.

National Geographic completes the book with embellishments of each story: sidebars for each god, goddess, hero, and monster link the myths to constellations, geography, history, and culture to help young readers connect the stories to real life events, people, and places. A family tree and a “cast of characters” profile page help make relationships between the characters clear, and a mapping feature adds to the fun and fascination. Resource notes and ample back matter directing readers to more information round out this luminous book. Sure to dazzle all those intrigued with the fantastic tales of Greek mythology and enchant new readers, this vibrant book will soon become a family keepsake.

National Geographic supports K-12 educators with ELA Common Core Resources.

Book description for Celtic Tales: Fairy Tales and Stories of Enchantment from Ireland, Scotland, Brittany, and Wales by Kate Forrester:

The traditional stories of Ireland, Scotland, Brittany, and Wales transport us to the fantastical world of Celtic folklore. Translated and transcribed by folklorists in the late 19th and early 20th centuries, the 16 stories in this compilation conjure forgotten realms and rare magical creatures in vivid prose. These timeless tales brim with wit and magic, and each one is brought to life with elegant silhouette art by Kate Forrester in this special illustrated edition.

New Book: Hild: A Novel by Nicola Griffith

Hild: A Novel by Nicola Griffith is released today. I'm cheating because this isn't really a fairy tale retelling. But I am sure many readers here will be interested in this book. I'm not aware of any other novels about St. Hilda of Whitby, there probably are, but they would be rare, and this is new and is well-reviewed. And the cover is gorgeous which always helps despite knowing better as readers, right?

And I'm not cheating too much since stories of saints are part of folklore--I'm not discounting their weight as religious tales--but it's inarguable that legends and lores of saints have impacted other folklore and vice versa.

And I admit to knowing little to nothing about Hild who is mostly known through her appearance in The Ecclesiastical History of the English by the Venerable Bede from the 8th century AD. And since she is a patron saint of learning and culture, I find her all the most fascinating.

Book description:

A brilliant, lush, sweeping historical novel about the rise of one of the most powerful woman of the Middle Ages: Hild

In seventh-century Britain, small kingdoms are merging, frequently and violently. A new religion is coming ashore; the old gods are struggling, their priests worrying. Hild is the king's youngest niece, and she has a glimmering mind and a natural, noble authority. She will become a fascinating woman and one of the pivotal figures of the Middle Ages: Saint Hilda of Whitby.

But now she has only the powerful curiosity of a bright child, a will of adamant, and a way of seeing the world--of studying nature, of matching cause with effect, of observing her surroundings closely and predicting what will happen next--that can seem uncanny, even supernatural, to those around her.

Her uncle, Edwin of Northumbria, plots to become overking of the Angles, ruthlessly using every tool at his disposal: blood, bribery, belief. Hild establishes a place for herself at his side as the king's seer. And she is indispensable--unless she should ever lead the king astray. The stakes are life and death: for Hild, for her family, for her loved ones, and for the increasing numbers who seek the protection of the strange girl who can read the world and see the future.

Hild is a young woman at the heart of the violence, subtlety, and mysticism of the early Middle Ages--all of it brilliantly and accurately evoked by Nicola Griffith's luminous prose. Working from what little historical record is extant, Griffith has brought a beautiful, brutal world to vivid, absorbing life.

Job Posting: Director, Smithsonian Center for Folklife and Cultural Heritage

I don't post many of these, mostly because I don't actively look for them, but I am always happy to share job postings for folklore related jobs to give SurLaLune readers an idea of possible career tracks in the folklore field. So many of you are students wanting to know if you can pursue this field and continue to like eating. It's always fun to meet those of you in person who tell me that SurLaLune was one of your gateways into entering this field of study. At 14 years old this year, SurLaLune has helped inspire a few of you to follow your dreams. Thank you!

Right now there is a job posting for the position of Director at the Smithsonian Center for Folklife and Cultural Heritage. The full job listing and application is a PDF which will eventually disappear off the internet so here is most of it:

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Director, Center for Folklife and Cultural Heritage

Announcement # EX-13-01

The incumbent of this position serves as Director, Center for Folklife and Cultural Heritage (CFCH), appointed by the Secretary of the Smithsonian and under the supervision of the Under Secretary for History, Art, and Culture. The Center for Folklife and Cultural Heritage is responsible for planning, developing, and managing programs, cultural heritage policy, and training initiatives that have as their major objectives the research, documentation, presentation, and sustainability of living traditional and grassroots folk cultures of the United States and of other countries.

As Director, the incumbent is responsible for the administrative direction and management of all Center program activities including the Smithsonian Folklife Festival, Smithsonian Folkways Recordings, Ralph Rinzler Folklife Archives and Collections, exhibitions, symposia, scholarly research, cultural heritage policy, educational projects, professional training, and all media (including websites, social media, apps, video and film documentaries, etc.), as well as the participation of other Smithsonian museums and programs in appropriate national celebration events and National Mall events. The Director represents, at national and international levels, Smithsonian concerns relating to the understanding of the cultural representation of living heritage, as well as public sector folklore, and policies related to them.

The Director oversees approximately 40 scholarly, technical and administrative staff members, as well as scores of scholars and technicians working on a contractual or short-term basis, hundreds of interns and volunteers, and is responsible for the well-being of hundreds of Festival participants and Folkways artists annually.

The Center enjoys financial support from federal appropriations and Smithsonian Trust funds. However, significant funding must be raised from a variety of sources including national governments, foundations, corporations, and individuals to support the annual Smithsonian Folklife Festival and other programs. Effective revenue generation is also critical. Smithsonian Folkways Recordings relies on the generation of millions of dollars of earned income. Festival food and beverage concessions and its internally operated marketplace bring in essential additional revenues.

DUTIES AND RESPONSIBILITIES

1. The Director is responsible for developing and revising the Center’s vision and strategic plan and formulating the Center’s goals and objectives in consultation with staff, advisory council and board, and other stakeholders, and in concert with the Smithsonian Strategic Plan and the Institution’s leadership.

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2. The Director is responsible for the overall programmatic and administrative management of all Center program activities, which include the Smithsonian Folklife Festival, Smithsonian Folkways Recordings, Ralph Rinzler Archives, collections, exhibitions, scholarly research, all media and educational outreach, and cultural heritage policy projects as well as national celebration events and those involving collaborations with other Smithsonian museums and programs, while delegating certain of these areas to key subordinates. The Director issues and oversees operating policies, priorities, and procedures for Center program planning and development consistent with Smithsonian guidelines and regulations. The Director makes major policy and program decisions, including matters of budget, staffing, program planning, and priority.

3. The Director is responsible for monitoring, integrating, and coordinating the efforts of scholars and researchers involved with CFCH programs. The Director provides leadership and guidance, working with stakeholders, in defining the goals, objectives and priorities for scholarly research and for collections as well as for their presentation and use in a broad range of programs and products. The Director ensures that CFCH research and resultant programs are scholarly, ethical in light of disciplinary and human subjects research guidelines, participatory with communities and artists, and respectful and sensitive to the beliefs and traditions of the participants. Director ensures that collections—whether documentary or artifactual, are acquired and cared for in a manner consistent with Smithsonian policies and guidelines.

4. The Director prepares, oversees and implements Federal and Trust budgets that realize CFCH goals, and operates within those budgets. The Director oversees the preparation and submission of CFCH Federal budget requests to the Smithsonian for consideration by the Office of Management and Budget and by Congress, and the preparation and submission of the Smithsonian Trust fund budget. The Director allocates budgets within Smithsonian guidelines and directives.

5. The Director oversees, encourages, and pursues gift, grant, and contract activity for the CFCH ensuring resources secured are adequate to meet the Center’s goals. The Director prepares National Campaign and development plans for securing funds from individuals; foundations; corporations; foreign governments; state, federal, and international agencies; and/or appropriate partnerships in the pursuit of CFCH objectives. The Director meets with potential funders, sponsors, and partners, making presentations, securing funds, and managing donor relations.

6. The Director oversees, encourages, and pursues nonprofit business activity for the CFCH, working closely with the Director of Smithsonian Folkways Recordings, Festival concessions, shops, and other such operations to assure the financial success of these activities., The Director works with Smithsonian Enterprises and other partners, as appropriate, and in accord with Smithsonian policies and guidelines.

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7. The Director provides leadership for all staff, associates, fellows, interns, and volunteers of the CFCH, directly supervises senior staff members, and coordinates supervision of all staff members in a broad range of program activities. The Director encourages thoughtful, creative, innovative, ethical, and participatory performance through the organization. The Director issues CFCH policy guidelines and instructions consistent with Smithsonian guidelines and regulations and models those guidelines to assure the continued high quality of staff work performance. The Director assures that subordinate supervisors are effective in carrying out their responsibilities, and approves performance standards for key subordinates and periodically reviews their work performance. The Director reviews and approves recommendations on personnel matters relating to reassignment, promotion, performance appraisal, and disciplinary actions. The Director takes a proactive role in setting standards for and encouraging workplace civility among Center staff.

8. The Director is responsible for the achievement of a diverse staff and for assuring the representation of multiple perspectives in Center programs and activities. The Director encourages the training, recruitment, and career development of members of minority groups, women, and individuals with disabilities.

9 The Director represents the Smithsonian at high level disciplinary and policy meetings and conferences with international organizations, foreign governments, federal agencies, educational institutions, research centers, professional organizations, etc. to promote and foster the Institution’s folklife programs and issues of cultural policy, and to develop and coordinate programs of mutual interest for the research, documentation, representation, and sustainability of traditional and grassroots folklife and cultural heritage. The Director represents the CFCH as primary spokesperson to the media, Congress, and the public. The Director works closely with counterparts in the American Folklife Center at the Library of Congress, the American Folklore Society, and the National Endowments for the Arts and Humanities, and other federal, state, local agencies and organizations on the development of cooperative programs for the advance of the Nations’ interest in folklife, and works with agencies such as the U.S. Department of State, and intergovernmental organizations such as UNESCO on issues of the representation and conservation of living cultural heritage.

10. The Director serves as the principal advisor to the Secretary and the Under Secretary for History, Art, and Culture on matters relating to the folklife programs of the Institution, and as the lead in the management of cooperative programs with other Smithsonian museums, research centers, and programs, particularly, but not exclusively, the National Museum of American History, the National Museum of the American Indian, the National Museum of African American History and Culture, the National Museum of African Art, the Freer and Sackler Galleries, the Smithsonian American Art Museum, the Anacostia Community Museum, the Department of Anthropology of the National Museum of Natural History, the Smithsonian Latino Center, the Asian Pacific American Program and the Consortia for Understanding the American Experience and World Cultures.

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11. The Director serves as ex-officio member of the CFCH Advisory Council, working closely with the Chair to organize annual meetings, and with the Council members on issues relevant to the Center and in concert with the Council’s bylaws. The Director also serves as ex-officio member of the Folkways Advisory Board and participates in its meetings and deliberations. The Director participates with other Smithsonian advisory bodies including the Smithsonian National Board, and, as appropriate, the Board of Regents.

12. As a scholar and/or practitioner, the Director makes original contributions to the theory and practice of folklore and/or cultural heritage and allied fields. The Director publishes books, articles, or chapters on the folklife and cultural heritage of particular communities, on theory, policy, or on the practice of public work. The Director participates in scholarly and professional conferences and seminars and gives expert guidance and advice to colleagues in the cultural fields.

13. Depending upon the organization of CFCH, the Director of CFCH may occasionally serve concurrently as the Director of Smithsonian Folkways or the Director of the Smithsonian Folklife Festival or another division of the Center, responsible for the functioning of that division, and may be assisted by a principal deputy, associate, or assistant director for operational and various managerial functions.

EVALUATION CRITERIA

The following criteria will be used to determine the highest qualified candidates:

Knowledge of folklore and/or ethnomusicology/ethnology/oral history/cultural heritage as evidenced by an advanced degree and/or a body of work that includes public programming or policy formulation/assessment, or scholarly achievement emphasizing living cultural heritage.

Leadership/management experience at a level that sets the goals and objectives for a scholarly or educational or service organization and includes the responsibility for management of the fiscal and human resources in a complex organization.

Successful track record of raising funds from individuals, foundations, corporations, and governmental organizations (domestically and/or internationally) through gifts, grants, and contracts.

Demonstrated successful track record of nonprofit business entrepreneurship generating significant revenues or entrepreneurial leveraging of substantive partnerships in the service of organizational mission.

Knowledge of world and/or American styles, systems, or traditions of cultural expression, as well as experience in representing exemplary cultural forms and practitioners in an important public and educational context and in an increasingly global, digital age.

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Experience with domestic and international cultural programs and the communication and social skills to represent the organization to senior management, government officials, international dignitaries and collaborating organizations.

IMPORTANT NOTICE

This is a Smithsonian Trust position. This is NOT a Federal Civil Service position. Smithsonian Trust positions are paid with revenues generated by our business enterprises and other non-government funding sources. Trust employees are “private sector” employees and are eligible to enroll in their own comprehensive benefit program including a lucrative, fully vested, retirement program with TIAA- CREF ( www.si.edu/benefits). A Federal employee who accepts a Trust position must resign from Federal service. Federal retirement payments are not affected by Trust employment.

The Smithsonian offers a competitive starting salary commensurate with experience.

HOW TO APPLY

We are only accepting E-Mail applications for this position. Please E-mail your resume or C.V. to Executiveresources@si.edu. Place EX-13-01 in the subject line. We will accept resumes until the closing date November 9, 2012

Applicant Survey Form (Attached) All candidates, except Smithsonian Institution employees, are requested to complete and submit the enclosed Applicant Survey Form with the application. This form will be used to determine the demographics of applicants who apply for vacancies at the Smithsonian Institution, and will not affect consideration for this position. The applicant survey form may be obtained on our website at www.si.edu/ohr.

Relocation expenses may be paid at the discretion of the Smithsonian

The individual selected for this position is subject to a full-field background investigation and will be required to file a confidential statement of employment and financial interests.

The Smithsonian Institution is an Equal Opportunity Employer. We believe that a workforce comprising a variety of educational, cultural and experiential backgrounds support and enhance our daily work life and contribute to the richness of our exhibitions and programs. See Smithsonian EEO program information: www.si.edu/oeema

The Smithsonian provides reasonable accommodations to applicants with disabilities. If you need a reasonable accommodation for the application/hiring process, please call (202) 633-6370 (voice) or (202) 633-6409 (TTY).

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For questions, nominations or other inquiries concerning this announcement contact

Tom Lawrence

Smithsonian Institution

Office of Human Resources

Executive Resources Office

New Book: Vessel by Sarah Beth Durst

Vessel by Sarah Beth Durst is released today and has been receiving stellar reviews. While this book isn't a fairy tale retelling, it draws from folklore and mythology to create a new fantasy world of Durst's making. I know there are several Durst fans here so I wanted to share the book today.

Book description:

In a desert world of sandstorms and sand-wolves, a teen girl must defy the gods to save her tribe in this mystical, atmospheric tale from the author of Drink, Slay, Love.

Liyana has trained her entire life to be the vessel of a goddess. The goddess will inhabit Liyana’s body and use magic to bring rain to the desert. But Liyana’s goddess never comes. Abandoned by her angry tribe, Liyana expects to die in the desert. Until a boy walks out of the dust in search of her.

Korbyn is a god inside his vessel, and a trickster god at that. He tells Liyana that five other gods are missing, and they set off across the desert in search of the other vessels. For the desert tribes cannot survive without the magic of their gods. But the journey is dangerous, even with a god’s help. And not everyone is willing to believe the trickster god’s tale.

The closer she grows to Korbyn, the less Liyana wants to disappear to make way for her goddess. But she has no choice: She must die for her tribe to live. Unless a trickster god can help her to trick fate—or a human girl can muster some magic of her own.

And here are Durst's fairy tale inspired novels, too:

   

Around the World: African American Folktales: Stories from Black Traditions in the New World (Pantheon Fairy Tale and Folklore Library) by Roger D. Abrahams

Today's adventure around the world in folklore is African American Folktales: Stories from Black Traditions in the New World (Pantheon Fairy Tale and Folklore Library) by Roger D. Abrahams.

Product Description:

Nearly 100 stories from over 40 tribe-related myths of creation, tales of epic deeds, ghost stories and tales set in both the animal and human realms.

From Library Journal:

This volume sports a hefty 95 stories gleaned from the notes of the earliest missionaries on up to recent anthropological studies. Abrahams admits that reading the stories lacks the full impact of hearing them told aloud but contends that they can nonetheless still be enjoyed. The stories feature numerous illustrations.

Of course, with such a large continent, any book like this can only be considered a most basic overview. It is rare to find collections of folklore from specific African countries available in English so overviews are often the only resources available to casual and even somewhat enthusiastic readers. Still, this is one of the best of those available, especially for the price.

Table of Contents:

Preface
Introduction 3
1 Never Seen His Equal 41
2 The Man Makes and the Woman Takes 42
3 Bringing Men and Women Together 45
4 The Fight over Life 46
5 The Wind and the Water Fighting 47
6 The Word the Devil Made Up 48
7 The Knee-High Man Tries to Get Sizable 49
8 Pig's Long Nose and Greedy Mouth 50
9 Getting Common Sense 52
10 Hankering for a Long Tail 53
11 The Devil's Doing 62
12 The John Crows Lose Their Hair 63
13 Tadpole Loses His Tail 65
14 The Owl Never Sleeps at Night 66
15 Why Hens Are Afraid of Owls 68
16 The Gifts of Dipper and Cowhide 69
17 Buh Nansi Scares Buh Lion 72
18 Testing the Good Lord 74
19 Mr. Possum Loves Peace 75
20 Get Back, Get Back 77
21 No Justice on Earth 78
22 Meeting the King of the World 85
23 Mr. Bamancoo Gets Dropped 87
24 The Tug-of-War between Elephant and Whale 89
25 Tiger Becomes a Riding Horse 91
26 The Telltale Pepper Bush 94
27 Making the Stone Smoke 97
28 The Latest Song 99
29 The Signifying Monkey 101
30 The Singing Bones 105
31 A Boarhog for a Husband 108
32 The Woman Who Was a Bird 111
33 My Mother Killed Me, My Father Ate Me 113
34 What Makes Brer Wasp Have a Short Patience 119
35 Between the Fiddler and the Dancer 121
36 Being Greedy Chokes Anansi 122
37 The Doings and Undoings of the Dogoshes 123
38 Spreading Fingers for Friendship 124
39 Don't Shoot Me, Dyer, Don't Shoot Me 125
40 Little Eight John 128
41 The Poor Man and the Snake 130
42 The Little Bird Grows 132
43 Tricking All the Kings 136
44 The Feast on the Mountain and the Feast under the Water 140
45 Hide Anger until Tomorrow 141
46 Buying Two Empty Hands 142
47 Cutta Cord-La 144
48 Brer Bear's Grapevine 147
49 A Foolish Mother 149
50 Old Granny Grinny Granny 151
51 You Never Know What Trouble Is until It Finds You 153
52 He Pays for the Provisions 159
53 The Cunning Cockroach 163
54 Little Boy-Bear Nurses the Alligator Children 164
55 The Girl Made of Butter 167
56 Poppa Stole the Deacon's Bull 169
57 The Trouble with Helping Out 173
58 The Rooster Goes Away in a Huff 175
59 Why They Name the Stories for Anansi 182
60 Brother Rabbit Takes a Walk 183
61 The Lion in the Well 185
62 A License to Steal 192
63 The Race between Toad and Donkey 194
64 Crawling into the Elephant's Belly 197
65 A Strange Way to Sleep 199
66 Goobers Gone, Rabbit Gone 200
67 Assaulting All the Senses 202
68 Brer Rabbit's Riddle 203
69 The Horned Animals' Party 206
70 Anansi Plays Dead 207
71 Anansi Climbs the Wall 210
72 Dancing to the River 211
73 "Trouble" Coming Down the Road 214
74 No Chicken Tonight 216
75 Golden Breasts, Diamond Navel, Chain of Gold 223
76 The Flying Contest 230
77 Loggerhead 232
78 Trying to Get the Goldstone 234
79 Stackolee 238
80 Escaping, Slowly 240
81 Turning into Nouna - Nothing 241
82 The Old Bull and the Young One 244
83 Fasting for the Hand of the Queen's Daughter 251
84 Weak in the Day and Strong at Night 253
85 Jack Beats the Devil 255
86 Three Killed Florrie, Florrie Killed Ten 260
87 They Both Had Dead Horses 270
88 You Talk Too Much, Anyhow 274
89 Making the Eyes Run 275
90 Making a Wagon from a Wheelbarrow 276
91 The One-Legged Turkey 277
92 John Outruns the Lord 278
93 A Flying Fool 280
94 Horses Stay Outside 281
95 The Sinking of the Titanic 282
96 Competition for Laziness 283
97 John Outwits Mr. Berkeley 284
98 Black Jack and White Jack 288
99 Philanewyork 291
100 The Barn Is Burning 293
101 Big-Gut, Big-Head, Stringy-Leg 300
102 A Chain of Won'ts 300
103 Animal Talk 301
104 A Comic Conversation 302
105 A Smoking Story 303
106 The Things That Talked 304
107 Endings 305
Appendix: Sources, Annotations, and Index of Tales 307
Bibliography 321
Permissions Acknowledgments 325

Around the World: Folktales of the Amazon by Juan Carlos Galeano

Folktales of the Amazon by Juan Carlos Galeano is today's selection for Around the World folktales.

Book description:

Here are forty-one tales gathered from Amazonian fishermen, hunters, lodgers, small plot farm gardeners, and villagers in Venezuela, Guyana, Brazil, Bolivia, Peru, Colombia and Ecuador. Organized thematically, these tales for mature readers convey messages of kinship bonds and reciprocity, capturing the socialized relationships between peoples, animals, plants, places and a variety of shape-shifting supernatural entities. Often shocking or hair-raising, some of these tales even range into illicit topics, such as cannibalism and psychotropic plants.

JUAN CARLOS GALEANO is a poet, translator and filmmaker who has worked extensively in the Amazon basin. He grew up in the Amazon region of Colombia and is a professor at Florida State University.

Table of Contents:

Chapter 1: Tales of Origin
Chapter 2: Tales about Anacondas and Boas
Chapter 3: Tales about Dolphins and Other Aquatic Seducers
Chapter 4: Tales of Beasts and Forest Defenders
Chapter 5: Tales of Dark and Malevolent Shamans
Chapter 6: Tales of Punishment for Ill Behavior
Chapter 7: Tales of Special Places, Plants, and Birds

Around the World: Brazilian Folktales (World Folklore Series) byLivia Maria M de Almeida, Ana Maria Portella (Editor), Margaret Read MacDonald (Editor)

Brazilian Folktales (World Folklore Series) by Livia Maria M de Almeida, Ana Maria Portella (Editor), Margaret Read MacDonald (Editor) is today's featured collection of folktales from Around the World.

Book description:

Brazil, the largest country in South America, covers a vast terrain that ranges from the tropical rain forests of the Amazon basin and upland farms, to towering mountains and sandy beaches; from highly populated urban centers to virtually inaccessible interior jungle regions. Its population is composed of indigenous peoples (e.g., Tupy, Kaxinawa, Taulipang), people of African descent, those of European (mostly Portuguese) descent, and mixtures of these groups. Drawing on the varied cultural traditions and ethnic diversity of the country, this collection offers readers a rich brew of traditional Brazilian tales--from creation stories and stories of enchantment to animal and trickster tales. More than 40 stories are included, along with background information, color photographs, recipes, and games. There are very few collections of Brazilian folktales currently available in English, and none with this depth and range. This is a wonderful treasury for storytellers, folklorists, and educators. Also a great resource for educators planning units on the Amazon rain forest! All levels.

Table of Contents:

Introduction to Brazil and Brazilian storytelling
The creation of the Amazon River 3
Star fate of the bororo boys 5
How the night came to be 7
The wandering head : how the moon came to be 9
The story of Mani 11
The snake eater 13
The story of the Vitoria Regia, the Amazon water lily 15
The hawk husband 19
The story of Guarana 23
Turtle and Onca, the Jaguar 27
How Agouti (Cotia) fooled Onca 29
Jaguar and goat 31
How turtle tricked Onca 35
Crab with the flying eyes 37
Curupira and the hunter 41
A party in heaven 45
The cockroach's wedding 47
The bald chick 49
Monkey and the corn cake 53
The Louse-skin chair 59
The three sisters and the children with golden stars on their brows 65
Princess Toad 69
The singing grasses 73
The golden jars 75
The old lady in the woods 79
The princess with the seven pairs of shoes 81
The fish mother 85
Pedro Malasartes in the bag 91
Pedro Malasartes and the doll murderer 93
Pedro Malasartes herds pigs 95
Pedro Malasartes sells rabbits 97
The skull takes revenge 101
The devil in a bottle 103
The headless mule 107
Creature of the night 109
The old lady and the monkey 111
The creature of fire 113
The beetle man 115
The girl and the Kibungo 119
The Kibungo and the boy with the sack full of feathers 121
How the blacksmith fooled death 127
The good minister and death 131
Aunt misery's pear tree 133
Brazilian festivals 137
Festival recipes 140

A Treasury of American Folklore by B. A. Botkin: A Book That Shaped America

The Library of Congress recently released a list of Books That Shaped America.

The Library of Congress, the world’s largest repository of knowledge and information, began a multiyear “Celebration of the Book” with an exhibition on “Books That Shaped America.” The initial books in the exhibition are displayed below.

“This list is a starting point,” said Librarian of Congress James H. Billington. “It is not a register of the ‘best’ American books – although many of them fit that description. Rather, the list is intended to spark a national conversation on books written by Americans that have influenced our lives, whether they appear on this initial list or not.”

Well, imagine my surprise to find a folklore book on the list! That was unexpected. Folklore titles are so often overlooked on lists like these. It is A Treasury of American Folklore by B. A. Botkin. The book is currently out of print--although it has been reprinted a few times since its original 1944 publication.

From the Library of Congress:

Benjamin Botkin headed the Library of Congress’s Archive of American Folksong (now the American Folklife Center) between 1943 and 1945 and previously served as national folklore editor of the Federal Writers’ Project (1938–39), a program of President Franklin Roosevelt’s New Deal during the Depression. Botkin was one of the New Deal folklorists who persuasively argued that folklore was relevant in the present and that it was not something that should be studied merely for its historical value. This book features illustrations by Andrew Wyeth, one of America’s foremost realist painters.

So is anyone here familiar with this title and do you think it belongs on the list? I have to admit my personal library doesn't have this particular title, although I own a few American folklore titles. I have ordered a copy so I can explore it since it certainly sounds like an excellent addition to my collection. With 500 tales and 100 songs, it is an excellent resource although I am sure most of the material is repeated in other books I own.

Someday I will focus a little more on American folklore beyond my somewhat cursory knowledge. Although it is much wider than the average person on the street, I couldn't necessarily teach an hour long class off the cuff--yes, that's rather my own litmus test for how well I know a subject. Nevermind a whole semester--could I stand up in front of a group of people and teach an hour long class with little or no preparation? And be accurate and entertaining?

It's the Ides of March Again

 

No one in my real world life--except my husband--has understood my Ides of March references this week. Am I really that much of a literary geek? So I had to repost from last year because I know there will be some kindred spirits here...

From last year's Ides of March post:

I couldn't resist. This day gives my literary soul a bigger shiver than most Friday the 13ths although I don't claim to be much of a superstitious person. Mostly it's just fun to notice--unless something bad does happen! Then we can blame it all on the calendar...

From The Old Farmer's Almanac:

The Ides of March has long been considered an ill-fated day. Julius Caesar was assassinated on March 15, 44 B.C. Historians note that it is likely that a soothsayer named Spurinna had warned Caesar that danger would occur by the ides of March. William Shakespeare included the phrase "Beware the ides of March" in his play Julius Caesar.

The ides were the 15th days of four months (Martius, or March; Maius, or May; Quintilis, or July; and October) in the ancient Roman lunar calendar; they were the 13th in all other months (originally, Aprilis, or April; Iunius, or June; Sextilis, or August; September; November; and December. Ianuarius, or January, and Februarius, or February, were added later).

The word ides comes from the Latin word idus, which is possibly derived from an Etruscan word meaning "to divide." The ides were originally meant to mark the full Moon (the "halfway point" of a lunar month), but because the Roman calendar months and actual lunar months were of different lengths, they quickly got out of step. The ancient Romans considered the day after the calends (first of the month), nones (ninth day before the ides, inclusive), or ides of any month as unfavorable. These were called dies atri.

Added from last year, the original Shakespeare:

Caesar: Who is it in the press that calls on me?
I hear a tongue shriller than all the music
Cry "Caesar!" Speak, Caesar is turn'd to hear.

Soothsayer: Beware the ides of March.

Caesar: What man is that?

Brutus: A soothsayer bids you beware the ides of March.

Julius Caesar Act 1, scene 2, 15-19

And, then, you know, he was killed. So good warning...

Call for Papers: AFS Folk Narrative Section & Grimms Bicentennial

Before I post this call for papers, I wanted to wholeheartedly endorse the AFS (American Folklore Society) if you are interested in fairy tales. I attended the annual meeting in 2010 and met many wonderful people. Schedule conflicts kept me from attending last year, but I hope this year I can arrange to attend again, especially since Linda (who you may have met at Grimm Legacies) and Adam are working hard to increase the fairy tale element of this year's conference.

Here's the description:

Hello everybody!

As you are all probably aware, 2012 marks the bicentennial anniversary of the first publication of the Grimms' Kinder- und Hausmarchen. In honor of this fact, the AFS Folk Narrative Section is looking to sponsor a series of pre-organized paper sessions, Diamond sessions, forums, and / or media sessions at this year's American Folklore Society Meeting devoted to the history, the impact, and the future of the Grimms's collection.

We are interested in any Grimms-related topic that you might propose, including those related to this year's meeting theme, "The Continuity and Creativity of Culture".

Additional possible ideas include:

* The sources, analogues, and informants of the Grimms
* The impact of the collection on scholarly and popular audiences
* The impact of the collection in different nations
* The publication history, and / or reception, of the collection in its different editions
* The collection as literature for children, adults
* The legacy of the collection, and the revision of Grimm tales, in literature
* The legacy of the Grimms, and / or the collection in popular culture (including films, television, graphic novels, advertising, on the web)
* The Grimms and the digital humanities

If you have a paper topic in mind, but need to find a panel, please feel free to use the Folk Narrative Section's social media tools: we recommend our Facebook group and Google+ page as great ways to
coordinate with like-minded potential AFS-goers.

If you have an organized session that you would like the Folk Narrative section to sponsor, please let us know. We are, as always, reachable via email at azolkove (a) indiana.edu or linda.lee (a) mindspring.com.

The Folk Narrative section will also be sponsoring our second biennial Stith Thompson Lecture. We are pleased to announce that our speaker this year will be Kay Stone. Look for more information about that event soon.

And remember, the deadline for proposals for the AFS 2012 Meetings in New Orleans, LA is coming up March 31st, so organizing your panel and getting in touch with us sooner than later is a very good idea.

Best,

Adam D. Zolkover & Linda J. Lee
Conveners

Beware the Ides of March!

 

I couldn't resist. This day gives my literary soul a bigger shiver than most Friday the 13ths although I don't claim to be much of a superstitious person. Mostly it's just fun to notice--unless something bad does happen! Then we can blame it all on the calendar...

From The Old Farmer's Almanac:

The Ides of March has long been considered an ill-fated day. Julius Caesar was assassinated on March 15, 44 B.C. Historians note that it is likely that a soothsayer named Spurinna had warned Caesar that danger would occur by the ides of March. William Shakespeare included the phrase "Beware the ides of March" in his play Julius Caesar.

The ides were the 15th days of four months (Martius, or March; Maius, or May; Quintilis, or July; and October) in the ancient Roman lunar calendar; they were the 13th in all other months (originally, Aprilis, or April; Iunius, or June; Sextilis, or August; September; November; and December. Ianuarius, or January, and Februarius, or February, were added later).

The word ides comes from the Latin word idus, which is possibly derived from an Etruscan word meaning "to divide." The ides were originally meant to mark the full Moon (the "halfway point" of a lunar month), but because the Roman calendar months and actual lunar months were of different lengths, they quickly got out of step. The ancient Romans considered the day after the calends (first of the month), nones (ninth day before the ides, inclusive), or ides of any month as unfavorable. These were called dies atri.

Movement to Make January National Folklore Month

I really dropped the ball on this one. Back in early December, Lise Lunge-Larsen emailed me about her forays into having January become National Folklore Month. Lise is a storyteller and author who also blogs at the Children's Literature Network at Snip, Snap, Snute. This past month she has been blogging specifically about folklore, including fairy tales and storytelling. Here is an edited version of her email:

Last spring I began blogging once a week about folktales for Children's Literature Network (http://www.childrensliteraturenetwork.org/) an organization out of Minnesota that seeks to promote children's literature. I proposed last year that we should declare January National Folktale Month on order to promote more reading of folktales in the classroom and at home. After all poetry gets all of April to itself! During the month I will post a blog about various ways to incorporate folktales, fables and myths into the curriculum and everyday life. I am sure I will reference your blog and website a great deal and wondered if there was any way I could talk you into mentioning this on your site?

My blog is called "snipp, snapp, snute" after the traditional way to end a tale in Norway. I am after all, a native of that country.

As I said, I'm late to the party, but Lise's blog is excellent and I recommend giving it a looksy. I'm also predisposed to like people who work in folklore and children's literature, especially if they are Norwegian since I can claim a quarter of that myself through my grandfather who is 100%. Here are the posts she has shared this month:

And the Moral of the Story Is…



Telling the Tale



The Fairy Tale



Animal Adventures



Oodles of Noodles, or Noodlehead Stories



Cumulative Tales and more!



A Bag Full of Tricks



Pourquoi Tales, part deux!



Pourquoi Tales, part 1

Happy Folktale Month

And for good measure while we're here, here are some of Lise's books which I imagine look familiar to some of you: