The Irresistible Fairy Tale: The Cultural and Social History of a Genre

By Jack Zipes | Go to book overview

Acknowledgments

Over the past fifteen years I have collaborated with Cristina Bachilegga, Anne Duggan, and Donald Haase, who have transformed Marvels and Tales into the foremost journal of fairy-tale studies in North America and Europe and have always been ready to assist me. Their advice and criticism have been constant, and they were particularly helpful for my work on this present book. I have also benefited greatly from discussions and correspondence with Dan Ben-Amos, Michael Drout, Mark Scala, Tok Thompson, Francisco Vaz da Silva, and Jan Ziolkowski, who read some of the chapter drafts. They tempered the book’s polemics and corrected some of its misconceptions, as did the three anonymous reviewers of my original manuscript. Graham Anderson, Pauline Greenhill, Donatella Izzo, Sadhana Nathanai, and Hans-Jörg Uther graciously helped me and stimulated me in different ways while I was doing my research. In addition, I cannot say enough to express my gratitude for the generosity of Dina Goldstein, Claire Prussian, Paula Rego, Sharon Singer, Kiki Smith, and Rima Staines. It is an honor to include their wonderful artworks in this book.

If it were not for Hanne Winarsky, my enterprising former editor at Princeton University Press, this book would not have reached fruition. I am most appreciative of her support. Another former editor, Christopher Chung, also played a major role in convincing me to revamp my manuscript at an early stage, while Kelly Malloy, who recently joined Princeton, did crucial and effective work in tying together the loose ends of the manuscript. As I worked on the images for the book, Dimitri Karetnikov went out of his way to advise me wisely about the technical reproduction of the illustrations. In addition Brigitta van Rheinberg provided invaluable advice and assistance during the final stages of my work, and Sara Lerner, the fairy godmother of this project, once again did a marvelous job of supervising the entire production of the book. Last but not least, I want to thank Cindy Milstein for her careful and thorough copyediting, which, I believe, has improved the quality of my writing.

-xvii-

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