Carina Bissett is a writer, poet, and educator working primarily in the fields of speculative fiction and interstitial art. Her short fiction and poetry has been published in multiple journals and anthologies including Hath No Fury, Mythic Delirium, NonBinary Review, Timeless Tales, and The Horror ‘Zine. Her work has been nominated for several awards and she was the recipient of the 2016 HWA Scholarship. For links to stories and poems, stop by www.carinabissett.com.
“Prince Hyacinth and the Dear Little Princess,” a French fairy tale, is the second story in Andrew Lang’s The Blue Fairy Book. (Reference given in at the end of the story: “Le Prince Desir et la Princesse Mignonne”. Par Madame Leprince de Beaumont.)
This is a strange little tale about a prince with an extraordinarily long nose. Like many fairy tales composed by Jeanne-Marie Leprince de Beaumont (26 April 1711 – 8 September 1780), this story is a moralistic one. While working as a governess in England, Madame Leprince de Beaumont recast French fairy tales as children’s fiction. She borrowed liberally from the writings that came out of the 17th-century French salons and recrafted them into stories that were both moral and instructive. Her most well-known fairy tale is the abridged version of “Beauty and the Beast,” which she adapted for young readers from Gabrielle-Suzanne Barbot de Villeneuve‘s original.
ANNOUNCEMENT: The day workshop schedules firmed up for the first Spring section of Intersections: Science Fiction, Fairy Tale & Myth. There will also be an evening session, but I haven’t pinned down the time and day for those meetings as of yet.
There is ONE seat left in the Monday workshop (2/11, 2/18, 2/25, 3/4, 3/11, 3/18), which runs from 2-4:30 pm (PST). There is also only ONE seat left in the Wednesday workshop (2/13, 2/20, 2/27, 3/6, 3/13, 3/20), which runs from 12-2:30 pm (PST). There are TWO seats left in the evening workshop, but I’m waiting for another registration before finalizing that time and day. Feel free to share. This is going to be FUN! — Carina Bissett
“The Bronze Ring” is the first story in The Blue Fairy Book by Andrew Lang. This version of this fairy tale from the Middle East or Central Asia and was translated and adapted from Traditions Populaires de l’Asie Mineure by Carnoy et Nicolaides (Paris: Maison-neuve, 1889).
To kick off the new year, I’ve started a project revolving around Andrew Lang‘s The Blue Fairy Book (1889), which was the first of twelve “coloured” fairy tale collections published through 1910. There are 37 tales in The Blue Fairy Book, which includes seven tales from the Brothers Grimm, five from Madame d’Aulnoy, three from the Arabian Nights, and four Norwegian fairytales, among other sources. Every eight to ten days, I will be posting one of the fairy tales along with my notes of potential links, mash-ups, and outside sources on Patreon. Other posts will include commentary on the original authors and collectors of these tales, links to contemporary retellings, and classic fairy tale illustrations. It’s going to be a fun ride, and I hope you will join me on this adventure.
SECTION I: the second week of February (11-17) through the third week of March (18-24)
Week 1 (2/11-2/17): Introductions, Into the Dark Wood (prompts), Modules 1-3 Discussion. Week 2 (2/18-2/24): “The Snow Queen” & Melting Polar Caps Week 3 (2/25-3/3): “Iron Henry, or the Frog Prince” & Invasive Species Week 4 (3/4-3/10): “Little Mermaid” & Pollution (Earth’s Oceans and Orbit) Week 5 (3/11-3/17: Revision and Submission Strategies & Marketing Tools for Authors Week 6 (3/18-3/24): Portfolio Presentations
SECTION II: first week of April (1-7) through mid-May)
Week 1 (4/1-4/7): Introductions, Into the Dark Wood (prompts), Modules 1-3 Discussion. Week 2 (4/8-4/14): “Bluebeard” & DNA Databanks Week 3 (4/15-4/21): “Thumbelina” & Microbes and Mites Week 4 (4/22-4/28): “Little Red Riding Hood” & The Natural History of the Color Red Week 5 (4/29-5/5): Revision and Submission Strategies & Marketing Tools for Authors
NO CLASS: StokerCon (5/6-5/12) Week 6 (5/13-5/19): Portfolio Presentations
Hello everyone. I didn’t get as much support for the fundraiser as I’d hoped, but I still want to offer a seat in the Monstrous Women workshop to a promising writer who wouldn’t be able to attend otherwise. The class begins on Thursday, August 30 and runs from 6-8:30 pm (MST). This is a reoccurring live workshop that meets weekly (with the exception of 10/25 and 11/22) through December 13.
To be considered for this scholarship placement, send a letter of intent, a financial need statement, and a short excerpt (up to 1,000 words) of your work to my email address (firstname.lastname@example.org). The application period is short–just 4 days–so get your applications in by midnight MST on August 28. The award will be announced on Wednesday, August 29. Feel free to share! I look forward to reading your stories.
p.s. It’s not too late to support the scholarship fund. If you want to help a writer attend, the GoFundMe campaign is still live.
This immersive workshop is designed to accommodate flexible scheduling options with no more than five participants assigned to each workshop. While craft development is included in the workshop process, the primary focus of this course is on the exploration of monstrous women in classic literature and myth as a way of providing seed material for original stories. There are five modules included in Monstrous Women II: A Feminist Approach to Myth and Magic –The Shifting Shapes of Animal Brides, The Seductive Allure of the Femme Fatale, Weeping Women and Tearful Prophecies, The Female Descent into Hysteria and Madness, and Mayhem in Numbers and the Sacred Three. Weekly meetings alternate between discussions and workshops. Module materials include introductory information, select excerpts, resource links, popular re-tellings, quotes & trivia, writing prompts, and discussion questions.
Last Fall, I offered the first modules of Monstrous Women. I’d always envisioned it as a generative workshop with two distinct sets of classes, but the funny thing is that monstrous women and women monsters refuse to be sorted and placed in tidy categories. I noticed some overlap, and so I decided to just run with it.
At the end of August, I will be running the second collection of Monstrous Women with all new material. This semester the selections will focus on The Shifting Shapes of Animal Brides, The Seductive Allure of the Femme Fatale, Weeping Women and Tearful Prophecies, The Female Descent into Hysteria and Madness, and Mayhem in Numbers and the Sacred Three. At the moment, there are only TWO seats left in the Thursday evening course. (Note: This is Friday morning AEDT for the Australian writers.) Come join us. It’s going to be a monstrously wonderful time.
On a side note, if you’re interested in the course, but don’t know what to expect, check out the pieces below, which were published by alums of the first session of Monstrous Women. Enjoy!
They wait for you, in the velvet castles of the night.
It’s not like they have anything better to do. Everyone knows the story stops for the hero, and who would the hero be but you? That is why every mirror in every inn in this town is enchanted, showing chiseled jaws, sculpted arms. Nine out of ten heroes have a verified need for encouragement along the way.
Author’s Notes: “The Velvet Castles of the Night” was inspired by the Monstrous Women class on vampires, and my own dislike of vampires, particularly female ones, and the way they are depicted in media.
Author Bio:Claire Eliza Bartlett is a US citizen who grew up in Colorado. She studied history and archaeology and spent time in Switzerland and Wales before settling in Denmark for good. When not at her computer telling mostly false stories, she works as a tour guide in Copenhagen, telling stories that are (mostly) true.
Odin wasn’t returning. I’d been a fool. Thinking I was special to be granted beauty, to share his bed. Believing that because Odin chose me, that meant that I was still one of the gods. But every time he left, his magic seeped out of my veins. And I waited and waited, dependent on his good will and his return.
Like god, like man.
The bastard had used me. He’d enticed me, fucked me, and left me behind.
Without Odin, I had no more magic. And without his magic, I was only one thing.
The Hidden One.
Author’s Notes: Intrigued by the tales of the Norse gods, I was listening to Neil Gaiman read aloud from his book on Norse Mythology. In his forward, he mentions that only a few Norse goddesses are remembered in story today. Many goddesses have names, but their lives and their deeds have long been forgotten. Curious, I researched the “forgotten ones”, intent on giving one of those goddesses a voice. I decided upon Hulda, who is only mentioned briefly as a witch and Odin’s mistress. I figured it must take a great woman to attract both the Allfather’s attention and ultimately his rejection, and so the seed for this story was planted.
In addition, during Monstrous Women, I discovered that the word “hulder” – the term for a female seductress with a cow’s tail – may have originated from Hulda’s name. I merged the two concepts, blending together the voice of a tale-less goddess with the plight of a woman cursed with the tail of a cow. And so, after hundreds of years forgotten, Hulda’s story is finally being told.
Author Bio: Cassandra Schoeber is a dark fantasy and horror writer. Unfortunately, there are times when her stories escape the page, wreak havoc, and eat innocent bystanders. She has published one novella, Ravenous with Fantasia Divinity Magazine, as well as several short stories, including: “Let It Snow” (Silver Apples Magazine); “When the Last Petal Falls” (Fantasia Divinity Magazine); “Hidden in the Shadow of a God” (Fantasia Divinity Magazine); and “He Knows” (Short and Twisted Christmas Tales).