Perrault and His Stupid Morals

 So I was thinking this morning about Perrault, and his annoying tendency to ruin perfectly good stories with self-righteous moralizing.

If you haven’t read a lot of Perrault before, what he does is tell his story, and then at the end he tells you the moral of the story. Sometimes two morals. And, okay, these are good stories, fully capable of standing on their own. So I’m already annoyed that Perrault has so little faith in our reading comprehension that he has to tell us what each story is about. But the other thing is, that’s not even what the stories are about. His morals are garbage!

I have two specific examples, which fill me with rage every time I think of them:

Bluebeard:

Summary: Girl married to skeevy older dude, already widowed several times. He leaves her home alone and tells her not to go in a specific room. She goes in anyway, and finds the corpses of all his previous wives. He finds out and tries to kill her too, but her brothers save her.

Moral 1: Don’t snoop

Moral 2: At least your arranged marriage probably isn’t to a serial killer, so suck it up.

Donkeyskin:

Summary: Beautiful queen on her deathbed makes husband promise not to remarry unless new girl is as hot as her. Tragically, she was the hottest. Until their daughter grows up to look exactly like dead mom. King has the brilliant idea to marry his own daughter! Daughter, grossed out and freaked out, flees, undergoing much trauma before eventually marrying a foreign prince. Her dad is invited to the wedding, and they reconcile, all the unfortunate incest business magically forgotten.

Moral: Do the right thing (i.e. don’t marry your dad) even when it’s hard.

Now, is it just me, or do these moral seem a little victim-blamey? How about “don’t murder”? “Don’t store rotting corpses in a closet”? “Incest is bad”?

Bluebeard dies at the end, sure, but Donkeyskin’s dad is facing zero consequences for his actions. And yeah, Donkeyskin did the right thing by not marrying her dad, and Perrault acknowledges that, but honestly? She’s a young woman being groomed/manipulated/threatened by the one person in her life that she should absolutely be able to rely on and trust unconditionally. If she did marry him, I would not blame her. Because she’s young and she’s scared and she’s tried, she’s tried to reason with him, but it’s not working, and what is she supposed to do? This particular girl didn’t panic, and was smart enough to find an escape route. But a different girl in the same situation might not have seen a way out, might have wound up marrying him, and that wouldn’t be her fault. It would be her dad’s.

Yeah, Donkeyskin did the right thing, even though it was hard. So what? That’s not the moral of the story! There are a lot of potential morals here, but Perrault can shut up unless he wants to call out the evil dad, and preferably kill him off in the most painful and gruesome way possible.

And Bluebeard? Let’s go back to Bluebeard. “Don’t snoop”? Don’t snoop? Seriously? If I’m ever forced to marry a skeevy older dude with several dead wives, I’m absolutely going to snoop. That’s, like, preemptive self-defense. And I will complain about being forced to marry a skeevy older man as much as I want, whether or not he’s a serial killer, and I have every right to; screw you, Perrault, you insufferable jerk.

Why do you have two morals calling out of heroine for perceived bad behavior and nothing to say about the actual literal serial killer? Stop scolding girls for being in a terrifying situation you’ll never experience and can’t possibly understand. Start scolding Bluebeard for being a serial killer who keeps rotting corpses inside his house. Like, let’s be real here; how much snooping was even involved? Girl probably followed the smell. And smelling dead bodies absolutely trumps all “do not open this door” instructions.

I love Perrault’s actual stories, but his stupid morals just kind of make me wish he was still alive so I could strangle him.

The Shoemaker Prince

So I wrote another book. The Shoemaker Prince is a collection of thirteen short stories based on or inspired by folklore, and it’s coming out on November 2. Digital preorders are open now through most major retailers, and print preorders open through the Wax Heart website on October 12. And I’m super excited!

Some of these stories I wrote as recently as August—I think one I actually finished in early September. It happened to me, very suddenly, as stories sometimes do, and I knew it belonged in this collection.

Other stories I’ve been working on for a very long time. I wrote the first draft of “Violet and Zorzal” when I was sixteen, and I consider it my first real story—the first one I wrote down in its entirety that was for myself and not a school assignment. Before that, my stories existed only in my head.

I began “The Girl With No Heart in Her Body” when I was somewhere in the eight to ten range. It’s a story about a girl born literally heartless, and I think it was my small child attempt to make sense of my undiagnosed mental illness—most of the stories I remember telling myself at this age were about girls with something missing, and no one around them understanding what was wrong with them or why they couldn’t just be like everyone else. The story has obviously been updated significantly since my mental first draft twenty years ago, but it’s still very important to me.

Other stories include:

The title story, about a boy with amnesia, red shoes, and a pet cardinal.

“The Princess Who Refused to Marry a Merman,” a story about a sailor princess with a missing, enchanted fiancé.

A retelling of “The Frog Prince.”

A retelling of “The Frog Princess.”

A retelling of “Puss in Boots” from the perspective of the princess that the cat and his owner are attempting to hoodwink.

At this exact moment, my personal favorite stories are “The Princess Who Refused to Marry a Merman” and “The Ogre Bride,” both largely original stories, though obviously heavily inspired by folk traditions. So keep an eye out for those, and the other eleven!

(Because people often ask: This book can be purchased in print or digitally, from Wax Heart Press or from most major booksellers. All purchases support me both financially and in terms of sort of passive promotion. I get the same amount of money for print purchases no matter where you buy them, but while I get a fraction of the profits from ebook sales elsewhere, I do get 100% of the profit from ebook sales through waxheartpress.com. You’re also charged a dollar less for buying it from there. I make about the same amount of money from print sales and from ebook sales through Wax Heart Press, and a bit less from ebook sales through other channels. But I am super grateful for any purchase you make, and you should absolutely do what works best for you!)

 

 

*#@% You, Mary

This story is actually called “Mary’s Child,” or “Our Lady’s Child,” usually, and it shows up in the Brothers Grimm. And it will be a miracle if I can get through this essay without using some seriously bad language (but I’ll try, because my grandparents read this blog), because I am bursting with anger today, and the Virgin Mary deserves all I have and more.

Not the real Mary. Just to clarify. Fairy tale Mary. Fairy tale Mary deserves more anger than I have to give. I'm cool with the real life mother of God. No issues there.

Okay. So first of all, you got this baby. This baby’s dad is all broke, like everyone in fairy tales,  so one day when he’s out chopping wood, the Virgin Mary just appears all out of nowhere, like, hey man, you can’t afford to raise a kid. I’ll take her.

And this broke wood chopper dude, he’s like, yeah, okay. So the baby goes off with Mary to grow up in Heaven.

All good, yeah? Sounds fun.

Well, the crap is coming.

So the girl is like fourteen now, right? And Mary’s  gotta go on a trip. She decides—hello, Bluebeard—to leave all the keys to Heaven with this kid. Except of course one of the keys opens a door the kid’s not allowed to open.

Now this raises a lot of questions. Like, why would you leave these incredibly important keys in the charge of not only a child, but a living, human child—i.e. the only person in Heaven likely to make big with the sin and all? Or, like, where on earth does Mary have to be? Dude, you’re dead. Take a load off. Jesus came, Jesus went, your work is done. Naptime. Or, like, where exactly is God in all this? Or why are there locked doors in Heaven? Why are actual physical locks even a thing? Like, can’t the power of the Lord keep the special doors closed? And, most importantly, why is God putting up with all the crap that Mary is about to pull over the next several years of this child’s life?

So. Kid has the keys. Kid is hanging out with her little angel pals, and they’re all curious. There some arguing about how that would be wrong, we shouldn’t do that, it’s a sin, but you’re dealing with a high school freshman who grew up surrounded by the Sinless, and she is way past due for some rebellion.

Newsflash, Mary: Kids mess up. They can’t all be like your first one. Jesus was a special case, Mary. This kid is normal, Mary. She may be fully human, Mary, but she sure ain’t fully God.

Door opens. Mary returns, and it becomes obvious that the door opened—kid’s finger turns gold or something. Kid tries to lie about it, so that doesn’t help. Golden fingers don’t lie, kid.

So Mary dumps this child back down on earth, and she takes her voice while she’s at it. Recap: Girl, fourteen years old. Experience with other flawed human beings, zero. Experience with the trials of real life, particularly the wilderness, zero. Voice, none.

And here she is, smack dab in the middle of a forest, a child, and her clothes are all ripped and she’s tired and she’s hungry and she’s scared. And suddenly, a king.

I mean, you know where it’s going from here, right?  It’s not the first time. Big grown up king man marries the little girl with literally nothing, not even a voice to say no. And before you know it, she’s all knocked up.

And along comes Mary, in the middle of the night right after the baby is born, and she’s all like, hey, kid. You got a confession to make? Maybe one concerning a door you totally didn’t open?

And the kid says, “Nope.” (Her voice magically comes back so she can answer Mary's question.)

Okay. So, not the brightest. Not the most honest. She’s a stubborn girl. But, okay. She’s what, fifteen, now? And she can’t talk, and aside from the whole statutory rape thing, you really can’t say no to a king, especially when you have no voice. So I don’t think it’s all that much of a leap to assume this relationship was less than entirely consensual. And she’s a little girl, and she’s all alone in the world, and now she’s a mother. And she got kicked out of freaking Heaven. She has literally nothing left, and it’s all Mary’s fault.

And just thinking about it, I’m already all like screw you, Mary. So imagine how she’s feeling. I wouldn’t be about to admit defeat in the face of this crap either.

So Mary gets all pissed and takes away the newborn baby, and the next morning everyone’s saying that our girl ate her offspring.

But the king, he’s really into this whole child bride situation, so he decides to let the cannibalism slide just this once.

A year later, along comes baby number two. Mary shows up in the middle of the night, and she asks if the kid opened the door. And the kid is down a baby and the respect and trust of her people, on top of everything else. So she’s just like, “Screw you, Mary, I didn’t open your stupid door.”

Bye bye baby number two, hello continued rumors of cannibalistic infanticide.

Fortunately, the novelty of doing it with a little girl who can’t talk back has yet to wear off, so the king lets it go. Who needs babies for kids when you already got one for a wife?

Another year passes. Deceit and childbirth, take three. Mary asks, girl lies, baby goes away to Heaven to live with Grandma. And maybe a mute seventeen year old wife isn’t quite as fun as a sixteen year old, or fifteen, or fourteen, because finally, the king is like, “Okay, enough with the baby-eating. We gotta burn this chick at the stake.”

So apparently, the fire from the stake-burning melts the “hard ice of pride” around our girl, and she’s just thinking, like “Crap, I really wish I’d told Mary the truth.”

And BAM! The voice comes back, and she admits to God and everyone that she opened that stupid door when she was fourteen stupid years old.

The fire goes out, Mary descends from the heavens, returns the babies, and FORGIVES her. Girl makes one mistake when she’s young and stupid, and Mary torments her in every way imaginable for the next three years, and then MARY forgives HER.

It’s a problem.

So, in conclusion $#%@ you, Mary.

The Beard and the Bird

Can we talk about Bluebeard? I hate Bluebeard, okay? But you know what I love? Fitcher’s Bird. So let’s look at the differences.

Bluebeard is French. Perrault. Fitcher’s Bird is German. The Brothers Grimm. So let’s put away the idea that the Grimms are the most horrifically sexist fairy tale people of all time, shall we? Historically, they’re a major improvement.

You probably know the story of Bluebeard. Man with peculiar facial hair marries girl, tells girl not to enter one particular room while he’s out of town, gives her a key to said room, and leaves. Girl, full of insatiable curiosity, enters room, finds corpses of all Man’s previous wives, and in her shock, drops the key in their blood. She leaves the room quickly, but the key has been stained, and try as she might, she cannot wash away the blood. Man returns, inspects key, and prepares to kill another wife. She begs for time to say her final prayers, and during this time her brothers arrive, kill Bluebeard, and rescue her. The girl proceeds to live happily ever after, but the two morals of the story, as provided by Perrault, are:    

1.       Curiosity will get you in trouble       

2.    Real life guys aren’t nearly as bad as Bluebeard, so chill.

On, then, to Fitcher’s Bird. I’ve always pictured this bad guy with a silver nose, but I might be mixing up my Bluebeard variants. Someone has a silver nose. Anyway, we have a sorcerer.  He just straight up kidnaps his girls, and for some reason I find that sort of comforting. If you’re gonna be evil, just own up to it, you know?

So he kidnaps a girl, brings her to his fancy house, goes on a business trip and leaves her home alone with the forbidden key and an egg, which she mustn’t let out of her sight. Why an egg? Beats me. Spoiler alert—it never hatches.

Girl number one opens the murder closet, drops the egg, stains it, and gets chopped up and added to the mix as soon as the sorcerer gets home. He goes and kidnaps her sister. Same thing. And it’s down to the youngest sister.

Now this girl, she’s got some brains on her. She leaves the egg sitting safely on the kitchen counter when she goes exploring. Finds the murder closet, doesn’t drop anything in the blood, and begins carefully putting together the chopped up bodies of her sisters. And since this is a fairy tale, they promptly come back to life. Of course, the fragmented bodies of a dozen other girls get left behind, but hey, two resurrections in a single story? You’re already getting more than your money’s worth.

Sisters get stashed up in the attic or something. Third girl presents clean egg to the sorcerer. The test passed, he proposes to her immediately. And boy is she ever wearing the pants in this relationship.

Yeah, she says, whatever. But while I plan the wedding you gotta haul this huge basket of gold to my parents, ‘kay?

So she dumps the sisters in the basket, sprinkles some gold on top for appearances, and sends the man off, with strict instructions not to stop and rest, because she’ll be watching him from her window the whole time.

Dude gets tired. Sits for a minute. “And just what do you think you’re doing?” asks a zombie sister. “I thought I told you not to stop.”

Surprised at how close his bride’s voice sounds, he gets up and starts walking again. Meanwhile, she’s inviting all his friends over to celebrate the engagement.

He stops to rest. “Slacking again?” says the zombie sister. “My parents are waiting, dear.”

He hurries on. His bride fetches a skull from one of the skeletons in his closet, dresses it for a wedding, and props it up in the window.

“Hurry up,” her sister tells him in her voice. She coats herself in honey. He drops the basket on her mother’s porch. She slices open his feather bed and rolls in it. He walks home. She walks home. 

Paths collide—no problem. Why should he suspect anything, when his bride is right up in the window there, smiling down at him. Crazy humanoid birds aren’t that unusual, I suppose, where he comes from.

He enters the house. Bird girl’s friends and family, alerted by her sisters, meet her out back, and they set the house on fire. Evil sorcerer, evil sorcerer’s evil friends, all up in flames.

So here’s a girl who knows what she wants and finds a way to get it. Sensible and determined. Sneaky. Persistent. Smart. She saves her sisters, she saves herself, and she finds a way to bring down countless bad guys. Not to mention all the gold the sorcerer carried home with the zombie sisters. This family is set for life, just like in Bluebeard, but in this version, the girl wasn’t stupid and careless and she didn’t have to rely on her brothers to save her. They helped, sure, but she orchestrated the whole show. Got the world wrapped around her little finger, that girl. She’ll go far. Just as soon as she washes all those feathers off.