Vogler, Christopher. The Writer's Journey: Mythic Structure for ...

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2 Φεβ 2013 (πριν από 5 χρόνια και 5 μήνες)

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Fringe Child

Thirteenth child

on Friday the thirteenth, born unexpectedly in the glimmering light of a full
moon after the radiant, sun
filled day of Midsummer. She should have known then that her life was

unwanted outsider thrown into a perfect, fairytale world, magic
bright with

wands, spells
and enchantments. Daughter of Night,
the Sun scorns her;
she drifts


amid storytelling

ghostlike in the unearthly moonlight.

Whispering wave
s crept up the glistening grey san
d, edging higher as the sinking sun slipped

the horizon.
Clouds of birds swooped overhead,
scattering and buffeting in the

evening breeze

years h
ad passed since she had left the town yet it appe
the same as
she had left it;
the regular rhythm of the sea calmed her thoughts in the same way


it always had,
the same sun set over familiar
waves and the buildings behind her
seemed identi
cal to the way she
remembered. There was an uneasy feel to

the familiarity; the dance of the waves seemed strangely
ominous and she was suddenly aware of the vast depths of the water in front of her
. Shivering
slightly, Eris moved away from the sea and walked towards the

town where she had grown up

Lights twink
led ahead

through the twilight

like silhouetted constellations as she stepped up
the path to the

, the


framework of her childhood. Butterfly memories flitted through
her mind and a

familiar sense of mingled guilt and longing
crept through her once again, making her
heart beat faster with a vague sense of nausea.
She forced her mind blank, focussing instead
on the
brilliant outline of the Gothic

church that dominated
the skyline. T
he presence of the church
characterized the t
own; without its

, the town would seem to lack identity, lights and
buildings merging incoherently.
Eris followed the path up the hill towards the church, drawn
instinctively through the increasingly shadowed streets to the brightly lit
with high, stained
glass windows and a tall tower
leading to four intricately carved steeples.

Each detail triggered a
new memory; the timeless tower clock that ticked to its own rhythm,
the colourful windows she had
examined during countless carol s
ervices, each holding its own story. As a child, she had
herself in the legends

and even now


could smell the animals from the stable, hear the distant
angelsong and
feel the terrifying wonder of anticipation.

Christmas had always been her fa
time of year.

The chapel

was locked as she approached its high arched doors and she stood in front of the
stone building gazing upwards at the

detailed carvings on its walls
, intensified by


caused by
lights shining


from the ground.

The church itself seemed ethereal in the darkness, glowing
golden in the now dark night, otherworldly.
For Eris, time seemed meaningless as she
felt the same




we she had felt as a child, the same sense of unity and unfa
miliar acceptance that linked her t
o the
world around her. Eternal minutes passed until the moment was broken by a sudden ring of the
church bell. The familiar chimes jolted Eris back to reality and she turned away from the church back
towards the town centre.

She was always different som
ehow; fairy dances alien to her as she tripped her way through
their complex steps, her silver hair horribly conspicuous amongst the gilded manes of the other
fairies. Her spells never worked the ways she wanted. No shiny gold stars shot out of her wand;

instead silver speckles danced from its tip, hovering in the air in front of her, taunting her with their
glittering sparkles. A willow wand stands out amongst pines; capriciously changing with the cycles of
the moon amid constant evergreens.

Night had f
allen now;

cloaked the streets with velvety black folds punctuated by
the odd bright streetlamp.
The darkness did not worry her. She could walk these roads blindfolded,
knew instinctively the pattern of veins crisscrossing and winding to the hear
t of the town. She
followed a narrow path down the darkened hill lit only by the misty moonshine above. Firefly lights
glimmered in patches at the foot of the hill and the sky above was

with pinprick stars.
stopped and gazed upwards at the




The Milky Way snaked though ink



bow ready, stood tall above the horizon, flanked by his hounds Canis Major
and Minor. H
igh above,


Perseus looked down on

the Earth from his position alongside his


wife Andromeda, both watching Eris intently.

Stars murmured celestial stories,
constellations gossiped to each other as the girl below starwatched intently.

As a child, the night sky had fascinated Eris
She loved the feeling of i
nfinity, the nervous joy
of oneness with nature itself, the fearful realization of nothingness and everything at the same time.
She felt her own insignificance in the rhythm of the universe, thrills of fear and exhilaration fl
through her chest. As she grew older, the stars revealed m
ore of their secrets; she learned


behind the celestial patterns she had observed and
the clusters began to take on an identity
of their own, each with its own stories to tell a
nd lessons to teach. The sky breathed with life;
characters hid behind dusty clouds and the moon gathered millennia of stories during its nightly

Sometimes when the sky was especially clear, Eris would stand outside and stare at the
ns for hours, watching their stea
dy journey across the heavens, nervously excited by the
illicit feeling of stay
ing up late on a school night.
Yet other teenagers did not share her passion;
snaked around her during school hours and
awkward silenc
es punctuated her

Quirkiness is not an asset in a teenage pack and

he starstruck sky was more
interesting to Eris than


superstars, the tal
es hidden
in its patterned depths intrigued her




more than the affa
irs of people she had ne
ver met and she preferred the songs of nature to popular

Eris looked away from the stars above

and continued down the path towards the glittering
lights below.

From far away, the conste
llations watched apprehensively. Stories echoed from
heaven t
o earth, reverberating through the darkness like a warning.

The town sighed with sleep as Eris entered the dimly lit roads leading to its centre.
danced around her beneath sentry streetlamps and distant television sets murmured from behind
She followed the road towards a smaller church and
walked down a path through
its graveyard.
The only sound she could hear was the rustling of leaves beneath her feet; the silence
echoed in her ears and darkness shivered around her.
stillness was unnerving;

behind gravestones and trees arched overhead, blocking any moonlight. Eris walked quickly towards
a gate on the other side of the churchyard and stepped through. The difference was immediate; she
stood the lit entr
ance to a park. She crossed the car park and walked towards the


fields on
the other side.

She tried not to care, laughing at herself, making jokes along with the other fairies. But
laughter is a parasite, needing others to feed off. Alone, shado
ws tormented her, the lonely paradox
haunting her thoughts: not wanting to be with other fairies, feeling alone in their giggling droves yet
dreading the long, lonely hours at night where time is trapped in shadowed boughs and darkness
seeps from the etern
al night. The moon mocked from above; cold colourless rays shafting through
contorted branches.
She longed for a group,

somewhere to belong, but the fairy
world doesn’t have
a part for outsiders, neither good nor evil, floating without purpose


worlds, caught in a
web of fringe
world mythic space.

Silver moonlight

the park with


sheen and

diamond frost glistened
on the grass


up tree

trunks and

coating their skeletal branches with



swayed to a

silent beat; the river rippled steadily downstream. Each crunching footstep seemed to
echo through the silence, breaking the natural rhythm of the

night. Spectral r
ns of
numerous nights and days



the park filtered

into Eris’ mind
and she pa
used at the
edge of the field, looking around her.

Early morning runs through the crisp winter dawn, mild
summer e
reading on top of
rusty skate ramps, innumerable timeless h

swinging through
childhood, adolescence and adulthood.
ulsively, she ran across the frosty field towards the
gs and slides fenced off by ice
faded coloured

Ignoring the futile sign ‘
For the use of
children und
er the age of 12

she pushed open the ga
te and entered the play area.





From the moment her feet kicked frosted wood chippings and her gloved hands gripped icy
iron chains hard, time seemed immaterial. Linear structures whirled in spirals around her mind and
she swung weightlessly to the same cyclical rhythm that governed the

world around her.
At once a
rt of Nature and separate, she moved

through eternal space, high towards the skie
s and feet
brushing the earth.

She swung higher and faster, trees merging
in dark rainbows of branches until
she could touch them with the tip
s of her shoes.
After several timeless moments had passed, she
the tempo, allowing the swing to slow gradually until she could jump off into the waiting
wood chippings.
Nothing in the park had changed; within its ageless, timeless vicinity
lay chi
adolescence and adulthood, cycles repeated year by year, generation by ge
neration. Eris followed
path out of the park and up the narrow, wooden steps to the road once again.

The golden
glow from the streetlamps ca
st a daylike light to the

road as Eris walked along the pavement. The
road bridged across a river and she stopped once more, looking downstream at the medieval castle
shining through the darkness down the river, reflection rippling on the surface as though an illusion.

Each dawn,

she watched the sun creep over the horizon, glowing golden in the early morning
mist and blushing the clouds pale peach. One morning, two doves flew over the horizon, wings
glinting in the honey light. They brought news to the fairies from the kingdom:
a princess had been
born to the King and Queen. The fairies swarmed to the palace and the thirteenth fairy watched
from far away, entranced by delicate baby beauty.

The day of the baby’s christening came and the
King called forth twelve fairies to cast gi
fts of ble
ssings on the sleeping princess, t
he thirteenth
forgotten, abandoned still in her own inadequate otherworld. She watched from afar, jealousy biting
snakelike, creeping into her consciousness, emerald scales with bright, ruby red eyes that sparke
angry fires raging inside her. Wand in hand, she flew to the castle, fire flashing in her wake,
smouldering ash. Hammer
heart thumped, adrenaline pumped, glowing fiery scarlet in the pastel

Eris stood against the stone walls of the bridge, gazing

at the castle. It rose majestically
through the gloom, golden ramparts guarding against unknown sieges and a single turreted


standing watch down the river.
St George’s flag hung in the still night air, stark against the black
As a child, s
he had barely noticed the castle as she walked across the bridge each day apart
from the obligatory school trip and history lessons, yet now the sight filled her with awe.
Each stone


held a story; a millennium of

history seeped from every rock. Eri
s remembered the long
legends of knights and kings who had

walked the halls of that same castle and now, looking at its
shining splendour through the darkness, she could picture vividly the scenes that took place; the
violent thirteenth century siege

where enormous trebuchet catapults


flung cannonball rocks




from hundreds of metres away,
opulent feasts with food
full tables laden with dishes for royalty, the
shrouded dungeons that had seen


executions and treachery.

She shivered a
s she




who haunted

the castle’s walls, and a
s her gaze shifted upwards, she
saw once again the

winter watch of


constellations who witnessed history

Moving on from the castle, Eris continued to follow the ghost road towards the centre of
town, the same route she had taken every school day for fourteen years. She felt a strange feeling
of anticipation, as though waiting for something to happen. Th
e road led steadily downhill towards
the town centre and she walked automatically, hardly pausing to think. The quietness of the street
was disconcerting; at any moment, she half
expected hordes of schoolchildren to pour out onto the
deserted pavement yet

one came. For the first time that nig
ht, Eris began to feel alone; shadows
taunted her beneath harsh streetlamps and the darkness pressed around her as she walked more
quickly. She stopped suddenly in front of a familiar
building, her he
art prickling

with sharp stabs


guilt and nausea swirling her stomach.

A row of shadowed classrooms stretched down one side of a playground, ghostly in the haze
of darkness. Empty chairs and desks stood in neat rows in front of blank whiteboards and the
yground was deserted

by uniform trees
. Eris stood at the gate staring into the school
grounds, myriad memories churning inside her. Night time at school had always intrigued her; she
remembered exploring empty classrooms on school play nights on
ce her part was over, the faint
excitement of contraband activity and fear of hidden alarms.

had never co
me across any though
and she felt even now the thrill of the familiar become strange and of new discoveries. School for
Eris was ambivalent;

rally erudite,

she loved to learn and the distant scent of knowledge and
discovery still
drifted through the brick walls but she had always felt alien,

distant from others her
age, sitting on her own during lessons and hiding in th
e library at break.

friends came from fairy
tales and mythology; as a child she flew to the ice
bound kingdom of the Snow Queen with Gerda
and felt the rush of adventure and anticipation as the little mermaid visited the human world for the
first time. She could still feel t
he sharp snap of cold on her face while journeying through the snow
and hear the distant rush of the Snow Queen’s sleigh carry Kai further into her kingdom.
mingled with reality as she grew older and Eris gradually took on some of the characterist
ics of the
characters she spent so much time with;
the cold, detachment of the Snow Queen and the
vengeance of the Sea Witch.

The twelfth fairy paused mid
spell, looking up. Thirteen years of anger shot flame
from the thirteenth fairy’s old, scorne
d willow wand.
Before the end of her thirteenth birthday, she
will prick her finger on the needle of a spinning wheel and will fall asleep for a thousand years.




fairy vanished back to her exiled world, lost to others. She does not feel shame. She i
s not angry.
She exists in a dreamworld, go
between, floating aimlessly, moonlit spirit.

Eris’ heart beat fa
st at the memories

and she looked away quickly to halt the slow spread of

longing and

guilt through her chest.
She was no longer a part of the sch
ool routine, no longer
welcome within the wooden boundaries of learning and security

and she hated it
, hated the people

who judged and shunned her

and hated the artificial structure and

Regret is a dangerous
beast; unchecked, it grows uglier and
, morphing and twisting

a draconic monster
surfaces, unrelenting and vindictive. Eris’

eyes shone

scarlet through the darkness as s
he reached
into her bag and pulled out a golden apple
, intricately inscribed with variations of the same

two arrows pointing towards each other, their heads joined

Silver moonlight danced on the
patterns so the apple that appeared alive with chaotic energy.

Reaching back, sh
e hurled it hard

the window of the nearest classroom and ran as fast as
she could away from the building, down the
silent street and back towards the sea.

Her feet pounded the ground and her heart beat to the
same rhythm,
the regularity calming her thoughts, false order through chaos
. As she approached
the sea once mor
e, she slowed down and walk
ed towards the waves rippling up the silver sand

The setting moon shone diamond
bright in the sky. An icy sea breeze wrinkled the calm
water in front of her; false mirror
moon mocking from its shifting surface.
In the sky abov
e, Perse

down on

the girl carefully. He who knew her history was unable to act, bound by his cel


could only watch, omniscient observer yet powerless to react. Around him, starsong filled
the sky with heavenly gossip as rumours a
nd stories flew from constellation to constellatio
below, Eris stared out to sea with blank, unseeing eyes. The rippling rhythm

of the waves

filled her
being and time seemed meaningless as s
he stood in the eternal night, bound in the cyclical rhyt
of the universe. Task complete, she turned away from the water and walked dreamlike towards the
hills and the train station.

As she waited

for the first morning train out of her hometown, she


around the landscape for the last time.
The opal mo
on faded imperceptibly into the paling sky as
he first hints of pink stained the clouds above the hills. Faint flakes of snow drifted from above,
each delicately unique. As the train left the station, Eris did not look back. Nothing can come from
ng; false order leads to disorder. Ev
ery action has a reaction, equal and opposite.

Stories echo
through eternity.





Commentary of ‘Fringe Child

‘Fringe Child’ began originally as retelling of the classic fairy tale ‘Sleeping Beauty’ (or ‘Briar
depending on the version) from the point of view of the fairy or wise woman who was not
invited to the christening of the princess. The version of the tale I mainly used as a basis for the
story was the Grimm Brothers’ version of ‘Briar Rose’ because I li
ked the numerological aspect of
thirteen although I reverted back to the Perrault version with the idea of fairies rather than the
Grimms’ Wise Women. When I first started writing the story, I was worried that the idea of fairies
would ‘trivialize’ the w
riting because people often associate fairies with children and most
traditional folk or fairy tales do not actually feature fairies so I experimented with using the idea of
Wise Women but ultimately decided to use fairies, partly because I did not want to

use one
particular version of the story and also because I decided to use a dual narrative and the concept of
fairies help to distinguish fantasy from reality.

The idea of a dual narrative originally came from rereading Jacqueline Wilson’s ‘Midnight’,
ich, although a children’s story with a very different narrative style to ‘Fringe Child’, uses a
continuous story interspersed with fantasy elements. In ‘Midnight’, Wilson begins each chapter with
a letter written by the protagonist to a fantasy author an
d also includes a picture from the author’s
books which relates to the chapter. In the introduction to ‘Oranges Are Not the Only Fruit’, Jeanette
Winterson writes ‘Oranges’ is an “anti
linear” novel and that it is a “spiral narrative” (‘Oranges Are
Not th
e Only Fruit’, p.xiii). Winterson points out that “the spiral is fluid and allows infinite
movement”, and in ‘Oranges Are Not the Only Fruit’ this can be seen by the way in which the story is
told through anecdotes and more stories. I tried to use this i
dea in ‘Fringe Child’ to reflect the ideas
of order, disorder and chaos which are not fully resolved by the end of the narrative. I split the
fantasy story of ‘Fringe Child’ into sections which related to aspects of the ‘real’ story, in which a
woman call
ed Eris revisits the town where she grew up. I did not give a reason for the visit because
it was not important to the story and would detract from the psychological journey Eris is making as
well as a physical one.

When I first began to research the sto
ry of ‘Briar Rose’/’Sleeping Beauty’, there were two
main interpretations that influenced the way in which I reinterpreted the story. The first came from
Bruno Bettelheim’s ‘The Uses of Enchantment’ where he writes that “The thirteen fairies in the
rs Grimm’s story are reminiscent of the thirteen lunar months into which the year was once,
in ancient times, divided” (p.232) and although I did not want to include the other aspects of the
story that interested Bettelheim (ideas about femininity versus m
asculinity and the significance of
puberty), I found the idea of the moon versus the sun interesting as there is a lot of folklore and




mythology surrounding the idea
, e
specially ideas about

constancy and inconstancy
When I first
started writing a full ve
rsion of

‘Fringe Child’, I tried to use solar imagery to show the way in which
the movement of the sun regulated the concept of ‘day’ but this did not seem to work well within
the context of the story so I left most of it out and only used the idea of the
sun at the beginning and
end of the story as a ‘framing’ device which would hint at the idea without exploring it in detail.

The second interpretation that I used in ‘Fringe Child’ was the analogy of the Sleeping
Beauty story with the instigation of the
Trojan War. In ‘The Annotated Brothers Grimm’, Maria Tatar
writes that “The resentment of the slighted Wise Woman calls to mind Eris, goddess of discord”
which became the basis for the ‘real’ story in ‘Fringe Child’. I called the protagonist Eris to illu
this, and drew directly from the myth near the end of the narrative where she throws a golden apple
through a window. The mythology of and cult surrounding Eris are very interesting, and I used some
of the ideas in the narrative. The sentences at
the end of the story “Nothing can come from nothing;
false order leads to disorder. Every action has a reaction, equal and opposite” come directly from
ideas of Discordianism which is the belief that order and disorder are illusory and that reality is
otic. Although the narrative itself does not totally advocate this idea, there are elements of
order versus chaos throughout the story. Nature is portrayed as regular and cyclical whereas Eris
does not conform to the same regularity, although at times sh
e seems to. The narrative is
ambiguous as to whether the order is ‘real’ or imposed, as I tried to illustrate with sentences like
“the regularity calming her thoughts, false order through chaos” and the use of the sunset at the
beginning of the story and
sunrise at the end show another form of regularity and order. Time is
portrayed as a form of imposed order as the idea of linear time is ‘false’ and, as is shown by the
constellations, all time is present at once. This idea is complicated but forms the b
asis for the theory
of time where there is a four
dimensional universe and past, present and future are all ‘real’
simultaneously, and time is relative in the same way that place is relative. The idea that Eris is
revisiting places of her childhood also il
lustrates the idea that all times are present. Ideas of reality
and illusion are also important as the concept of ‘past’ and ‘future’ can also be seen as illusory and
that fantasy and reality can be intertwined, as Eris begins to experience.

Eris is an a
mbiguous character in Greek mythology. According to Hesiod’s ‘Works and Days’,
Eris takes two forms, one negative and one positive. The negative Eris creates discord and war,
which can also be seen in the famous myth that reflects ‘Sleeping Beauty’, but
the other Eris creates
Strife as a form of competition and can be beneficial rather than destructive. This Eris is also the
daughter of Nyx (Night) in Greek mythology, which was another idea that I used in ‘Fringe Child’,
setting the events of the story a
t night which also allowed the use of constellations. The winter




setting of the story allowed the use of snow as a device to illustrate both ‘coldness’ as lack of
emotional attachment and as reminiscent of the Snow Queen, whom Eris had begun to
usly imitate. Snow is also associated with purity and individuality which were two ideas I
wanted to evoke at the end of the story as Eris has undergone a form of ‘self
purification’ or change
and that every moment is unique, and the only time is the pres
ent. An idea that I did not include in
the final version of ‘Fringe Child’ is the use of the planet Eris in the solar system as an illustration of

character Eris. In a first draft
of ‘Fringe Child’, I had tried to use the planet at the end of the
ry where Eris becomes as constellation in her own right with the dwarf planet Eris as part of the
stars that made it up, but scientifically it was impossible as the dwarf planet Eris cannot be seen with
the naked eye and I wanted the story to be as scienti
fically plausible as possible. The idea would
have been interesting because the planet was named ‘Eris’ because it did not conform to the known
laws of the solar system and changed the way in which the solar system was viewed (being larger
than Pluto, Plu
to was demoted to a dwarf planet), and this idea would have illustrated Eris’
character as well as giving the opportunity for Eris to become part of the ever
present constellations.

Writing ‘Fringe Child’ was difficult because it relied more on character
perspective and ‘real
world’ description than research or symbolism. I tried to use a lot of visual description to evoke the
places in which the story was set as well as showing insights into Eris’ mind. Describing ‘real’ places
is different to fantasy b
ecause they are necessarily more factual and therefore cannot contain the
same amount of references or symbolism that a fantasy narrative could include, and this makes the
writing itself much more important in communicating the ideas behind the narrative.

Because Eris
was making a psychological journey, I wanted to communicate her thought processes in a way that
would show how she was feeling without giving away any motives or reasons (which would take
away the mythological element of the character and cha
nge the sense of time from one that was
only present), which was a lot more difficult than I had realized and I think this may have made the
narrative appear disjointed.

I did not want to fully develop Eris’ personality as a ‘three
would not work well in a myt
hological or fairy tale context

but still wanted to give some
insight into her thought processes, so


chose to do this through memories and sense experiences
rather than an exploration of emotions. This is relevant in the cont
ext of the story because one of
the ideas it aims to explore if the construction of identity through subjectivity, which is based o
sense experiences and memory. Emotions are hinted at throughout the story but mainly through
physical experiences such as
nausea rather than complex emotional

chains of


The fairy tale extracts were written in the present tense to illustrate the idea that the ideas
and experiences are universal and always present, but the ‘real’ story was written in the past as a





to show a particular example that took place at a specific ‘moment’ in time (again using the idea
that all time is always present in the same way that all space is always present

in theory it is
possible to travel through time in the same way as travelli
ng through space). This made the
structure more complicated than I had intended and the references may be too obscure to be

Although the journey Eris is making has a ‘linear’ structure as she moves from one
physical place to another, the psyc
hological aspects are more interlinked and appear to contradict
the general structure of the story. The ‘real’ story (the events that actually take place) lead on from
each other whereas the thought processes are jumbled and random, based on Eris’ associa
tions and
intuitions rather than logical progression.

As a story itself, ‘Fringe Child’ attempts to illustrate the idea that stories describe the world
and that the world is experienced subjectively which creates individual perception. This is shown by
ris’ viewpoint in time contrasted to the universal ‘timeless’ constellations and by illustrations of
history and mythology. Eris experiences each place in a subjective way, both through memories and
sense experience, and creates

imaginary experience
s whic
h in turn become

memory such as the way
in which she sees the stained glass window in the church. This is also a contrast to the idea of
everything existing at once and links to ideas about the merging of fantasy and reality.
The ideas
about subjectivity

echo Arthur
Schopenhauer’s acco
unt of the Eristic

where he uses the
example of trying to win an argument by conflict for the sake of argument rather than in the search
of objective truth, which also explains why there cannot be a full conclusi

the argument is for the
sake of winning rather than discovering truth and in a sense Eris’ destructive act is for personal
resolution and vengeance rather than an objectively beneficial act.

Schopenhauer describes Eris in
‘The World as Will and Repres
entation’ as

the strife of all individuals, the expression of the
contradiction with which the will
live is affected in its inner self
” which shows how E
ris can never
be fully resolved

although Schopenhauer’s views are more complex because he believed

that the
essence of human life is suffering and people should strive to ‘escape’ the dominant Will through
aesthetics rather than Nietzsche’s view of embracing chaos
. ‘Fringe Child’
is ambiguous and
, and

does not have a resolution

as a pro
per ‘ending’ to the story would defeat the
eas illustrated

within it.






Bettelheim, Bruno.
The Uses of Enchantment,

When researching the psychological aspects of fairy tales and the section on
‘Sleeping Beauty’.

Condos, Theony.
he Star Myths of the Greeks and Romans: A Sourcebook,
Phanes Press

As research into constellation myths.

Graves, Robert.
The Greek Myths,

As background research into Greek mythology.

Theogony and Works and Days.
Oxford World Classics

section about Eris as background research.

Luthi, Max.
Parallel Themes in Folk Narrative and Art Literature,
through Jstor

As background research into how folk and fairy tales can be portrayed in literature.

h, Jennifer R.
The Penguin Book of Greek Myths,

As research into Greek mythology.

Moore, Patrick.
Guide to the Night Sky,

To research seasonal constellations.

Perrault, Charles.
The Complete Fairy Tales,
Oxford World Classics

The story ‘Sleepin
g Beauty’

as background reading and inspiration for the story.

Schopenhauer, Arthur.
The World as Will and Representation,
Dover Publicatio

For a different

interpretation of ‘Eris’

and an exploration of his worldview.

Schopenhauer, Arthur.
Essays and Aphorisms,

Penguin Classics.

For background reading about Schopenhauer’s philosophy.

Tatar, Maria (ed.).
The Annotated Brothers Grimm,
W. W. Norton and Company





In particular the introdu
ction and the tale ‘Briar Rose’ as inspiration for ‘Fringe

Tatar, Maria
The Classic Fairy Tales,
Norton Critical Editions

As background research, in particular the section on ‘Sleeping Beauty’ and the
essays at the end.

Vogler, Christopher.
The Writer’s Journey:
Mythic Structure for Writer
Michael Wiese Production

As research into archetypes in writing.

Wilson, Jacqueline.
Corgi Children’s.

As background reading for writing styles.

Winterson, Jeanette.
Oranges Are Not the Only Fruit,

As research into writing styles and in particular the

Zipes, Jack.
he Brothers Grimm: from enchanted forests to the modern world,
Palgrave Macmillan

As background research about the Brothers Grimm and the story ‘Briar Rose’.


A brilliant resource for fairy tale research.


translation of Schopenhauer’s ‘The Art of Controversy’ with a section on the
Eristical Dialectic.