Fairy Tale Review

Fairy Tale Review

Fairy Tale Review

Fairy Tale Review

Synopsis

FAIRY TALE REVIEW (ISSN: 1556-6153) is an annual copublication of Fairy Tale Review Press and The University of Alabama Press. FAIRY TALE REVIEW is devoted to contemporary literary fairy tales and hopes to provide and elegant and innovative venue for writers working with the aesthetics and motifs of fairy tales. How can fairy tales help us to go where it is we are going, like Jean Cocteau's magical horse? We hope to discover. Please know that Fairy Tale Review is not devoted to any particular school of writing, but rather to original work that in its very own way is imbued with fairy tales.

Excerpt

At an early age, children are weaned on the marvelous, and later on they fail to retain a sufficient virginity of mind to enjoy fairy tales,” Andre Breton wrote in 1924. “There are fairy tales to be written for adults,” he continued. “Fairy tales almost blue.” Violet flowers are often described as “almost-blue,” which is how I chose this color; or almost how.

For a long time I was foolishly excited about writing this Editor's Note, full of happiness about The Violet Issue, the third issue of Fairy Tale Review, with its diverse contents and new voices and magical language. This is the first issue that is very happily a copublication with the University of Alabama Press. So much of this issue came as a surprise, as a gift.

But then one of my oldest friends, one of our finest poets, and one of the most ardent supporters of Fairy Tale Review, left us forever. Sarah Hannah took her own life in May, a week before her 41st birthday. This issue is dedicated to her.

Sarah was the first person to know that this issue would be violet. She and I had a long conversation about it last November. I thought the issue would be pink, I told her. Pink is the color that she and I shared a mutual obsession with, and our friendship of the past 26 years revolved very much around pink. The pink flowers we planted, the sequined pink curtains we both had on our windows (first on hers in Cambridge, then sent to mine in Tuscaloosa), the mini pink skirts we wore to Go-Go's concerts, the pink candles we burned. We wrote letters on pink paper and often printed our first drafts on pink paper too. But Sarah said not to do this issue as The Pink Issue. “Save pink for last, for when we are old,” she said with that tone of glee—a wicked glee, an excitement only she could conjure for the smallest detail, making everything wild and secret and real.

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