The Palace was more than four hundred years old and had served its purpose; it would be unbecoming to despise it for showing its age. But there was now one spot within it of something new. Turn your thought to it for a moment. One incongruous new idea amid a marsh of stagnant facts. — Steven Brust’s Brokedown Palace
Ahhhh, plump pork sausages sizzling in their own fat, eggs any way you like them, palacsinta thick with lekvár, gulyás topped with sour cream, fresh brewed coffee with cream so thick it stands up… Sound good? It is. After a night of playing music, the musicians are always hungry, quite hungry indeed.
So Béla, our long-resident Hungarian violinist, pleased the lot of them — fussy though they be at the best of times — by delivering a crate of spicy Kolbasz sausages packed in ice and sawdust along with another crate that contained Páter Sör, a most excellent Hungarian wheat beer. and yet a third crate loaded with yet more Hungarian goodies for later.
We could even smell it in our rooms under the eaves up on the fourth floor, so we got up, dressed, and went down to the feast! Of course we got music as well, as Béla and several other musicians started playing some of the tunes collected by Béla Bartok, which you can find in Yugoslav Folk Music, his monumental four volume collection.
Gary came up with quite a number of archived reviews covering the academic writing of Jack Zipes about one of our favorite topics, fairy tales. Let’s see what he’s found.
Cat was highly impressed with Jack’s sprawling The Oxford Companion to Fairy Tales. ‘If you purchase only one reference book about the fairy tale tradition this year, this should be it. I have more books than I can count that are devoted to the subject of European fairy tales and their origins, but this is the first comprehensive guide that I’ve seen in print. The subtitle of the book is quite accurate: “The Western fairy tale tradition from medieval to modern.” ‘
And he was more than impressed with The Oxford Encyclopedia of Children’s Literature. ‘Any library with a more than bare bones children’s section needs this, as does anyone who is more than simply a fan of this literature. It is good enough that I expect to reference it a half dozen times a week. It’s certainly worth its weight in silver doubloons, fairy gold, dragons’ teeth, and gossamer wings!’
Chuck Lipsig reviewed at least five of Zipes’s books. He starts with two related works, Zipes’s Utopian Tales From Weimar, and Hermann Hesse’s The Fairy Tales of Hermann Hesse, edited and translated by Zipes. ‘I hesitate to choose any nation to be the nation of fairy tales. However, if I had to make a list, Germany, with its early 19th-century outpouring of tales, most notably by The Brothers Grimm, would merit consideration. With Utopian Tales From Weimar and The Fairy Tales of Hermann Hesse, both edited and translated by Jack Zipes, more recent incarnations of Germany’s fairy tale heritage, from just before World War I to the rise of the Nazis, are presented.’
He gave props to Jack’s Happily Ever After: Fairy Tales, Children, and the Culture Industry: ‘I am not, I suspect, the intended audience for Jack Zipes’s Happily Ever After: Fairy Tales, Children, and the Culture Industry. Zipes is a solidly on the political left, bemoaning the capitalist culture industry, especially Disney. I’m a pro-laissez faire celebrator of consumer culture and, specifically, a Disney fan. So when I say this is an excellent book, take it seriously.’
Faith reviewed a modern edition of folklore collected by 19th century scholar Thomas Frederick Crane, as edited by Jack Zipes. ‘Italian Popular Tales is a work of serious scholarship, but you don’t have to be a serious scholar to find it interesting. Where the scholar will find an excellent introduction to the early collections of Italian folktales, the casual reader will encounter a number of fascinating tales.’
Jack’s Creative Storytelling: Building Community, Changing Lives is an academic book of interest to educators who teach fairy tales, but it is very accessible, Chuck says. ‘However, this is not a book for those with casual interest. One needs a strong interest in either education or fairy tales — or better yet, both — for this book to be worthwhile reading. On the other hand, it does not take a scholarly background to read this book. Zipes is happily free of the gobbledygook that passes for academic writing these days.’
He was also positively impressed with a collection of Jack’s essays entitled When Dreams Came True: Classical Fairy Tales and Their Tradition. ‘Overall, When Dreams Came True is an excellent resource. The essays on the Brothers Grimm, fairy tales in Victorian England, and L. Frank Baum stand out as strong, detailed, and insightful. While not the ultimate compendium, the 20-plus page bibliography is a handy reference source on its own.’
Mia found the 38 versions of the Red Riding Hood tale a bit tedious (a lot, actually) in Jack’s The Trials and Tribulations of Little Red Riding Hood, but found the political context interesting. ‘There are some great pieces in this book, but frankly, unless one is obsessed with the Red Riding Hood story, reading it over and over is quite dull. The more modern stories and poems are infused with humor or make use of quirky twists on the tale, and they can be quite enjoyable.’
Robert found the arguments Jack used in Hans Christian Andersen: The Misunderstood Storyteller to be strained. ‘All told, I’m afraid this book was a disappointment, although Zipes does introduce some interesting concepts, such as the idea of revenge being a means of righting an imbalance in our personal moral order. It didn’t really broaden my understanding of Andersen and his role in nineteenth-century literature to any significant degree, or add to my appreciation of just why his fairy tales have remained the force that they are in literature and film as a whole.’
In related books, our Jack Merry took a deep dive into Maria Tatar’s The Annotated Brothers Grimm, which he compares and contrasts with Zipes’s similar tome. ‘If you’re looking for all two hundred and forty-two of the tales, including the thirty-two commonly omitted tales, you must get Zipes’ The Complete Brothers Grimm, as Tatar, like almost all other translators, selects a mere handful of them to reflect her tastes, forty-six for this collection, with nine of them being for adults, more with female protagonists than not.’
Despite knowing hardly anything about cooking, J.J.S. Boyce bravely (or foolishly?) decided to review a couple of complex books by Lesley Chamberlain — and try to cook some of the recipes therein! Fortunately, he was able to enlist the assistance of a Ukrainian uncle who knows his way around the kitchen. Find out how they fared in these detailed reviews of Chamberlain’s The Food and Cooking of Russia and The Food and Cooking of Eastern Europe.
Lahri Bond tracked down a video of the Tam Lin movie directed by Roddy McDowall! ‘For years I’ve heard of a rumor of a movie version of this classic tale, but could not find more details, until a friend found it an online video catalogue. What a surprise to have found that actor Roddy McDowall would have chosen this tale as the basis for his first (and only) turn as a film director. Filmed in 1968 (rendering him unable to reprise his role of Cornelis in the Planet of the Apes sequel) McDowall set the tale in London and the Scottish Borders during the “swinging Sixties.”
Jack Merry gaily took up the task of reviewing Grimm’s Grimmest with illustrations by T. A. Dockray, and an introduction by Maria Tatar. ‘Grimm’s Grimmest serves up tales that you won’t want to tell your daughter if you want her to sleep tonight. But these are tales that any adult interested in the folk process should read. Just keep the light burning brightly by your side as you read them — and watch out for the things that move in the dark corners of your room.’
Gary here with music. In new releases, I review a couple of jazz fusion albums, Yonglee & the Doltang’s Invisible Worker, and Michael Sarian’s Esquina. ‘I’m definitely a sucker for the jazz-rock fusion of my youth: Mahavishnu Orchestra, Bitches Brew-era Miles Davis, Return To Forever, Weather Report. Especially if it has some complicated time signatures and lots of Fender Rhodes electric piano. I’m not alone, because it’s a sound that’s been popular with plenty of musicians right up to the present day, including these two recent releases.’
The Danish instrumental folk trio Dreamer’s Circus has a new album out called Handed On. ‘The majority of these 13 tunes are originals, starting with the delightful dance “Uhrbrand’s Cabin” composed by Busk as a tribute to the Uhrbrand family and other residents of Fanø Island and their music; it’s led by Sørensen’s fiddle. It’s the most traditional Danish tune among those composed by the band, although Carr’s Quebecois style tune “The Iron Hall” has strong elements from that tradition …’
I also review a couple of new albums by Norwegian women’s vocal groups singing in different folk traditions: Øyonn Groven Myhren and Marit Karlberg’s Tostemt, and Kvedarkvintetten’s Tagal. Of the former, I note, ‘Using only their voices and simple sparse accompaniment on the lyre (Myhren) and the langeleik zither (Karlberg), they present 13 songs, largely Hardanger fiddle tunes to which lyrics have been added over the years or to which they sing in a type of wordless mouth music, in mesmerizing two part harmony.’
From the Archives, inspired by all the books about fairy tales, I looked up some tasty reviews of ballads, songs that tell stories.
Since Martin and Eliza Carthy are in the middle of a rare U.S. tour, I pulled David’s archived review of Martin Carthy’s The Carthy Chronicles. ‘The Carthy Chronicles is a massive set. Sure there are lots of 4 disc boxsets on the market, but this one includes more rare and unreleased tracks than almost any one I’ve ever seen. It leaves the listener hungry for more!’
David also reviewed one of a trio of Charlie Louvin’s latterday albums. ‘Charlie Louvin could sing the phone book and make it interesting I think, but here he Sings Murder Ballads and Disaster Songs and totally captivated this listener.’
‘Nashville’s Eric Brace has teamed up with fellow singer-songwriter Karl Straub to write a “folk opera” set during the California Gold Rush, based on the story behind “Sweet Betsy From Pike,” one of the most durable folk songs to come out of the American Westward migration,’ I noted regarding Brace & Straub’s Hangtown Dancehall. ‘The players and singers are top-notch, the songs are well-written, and if you string them all together they tell a poignant story that puts flesh on the dry bones of history.’
I reviewed Anaïs Mitchell & Jefferson Hamer’s Child Ballads: ‘American singer-songwriters Anaïs Mitchell and Jefferson Hamer have taken something of a middle tack in their superb little album Child Ballads. They do take a strictly acoustic and folk approach, but with arrangements and production that somehow have a modern feel to them.’
I enjoyed Chuck Brodsky’s The Baseball Ballads: ‘Jealous lovers with guns. Racism. Illicit drugs. The pain and confusion of growing up. And … spies? All of these, except perhaps the last, are typical fodder for American singer-songwriters. But this isn’t a typical record of folk songs. Troubador Chuck Brodsky has made an entire album of ballads inspired by baseball.’
Scott brought us a review of Russian Songwriter: A Collection From Boris Grebenshikov. ‘Backed by a frequently changing assortment of musicians known as Akvarium, Grebenshikov has written and sung an enormous volume of songs over the last thirty years. In this collection, he presents a number of his songs that characterize the Russian singer-songwriter tradition, along with his own versions of one traditional song and three covers of Russian songwriters who exerted a particularly heavy influence on him.’
To go with all those reviews of folklore and children’s lit, here’s an archival review by Mia of the Folkmanis’s Pirate, Princess, Knight, Witch, and Jack-in-the-Box puppets. ‘All in all these are some pretty cool toys for children or adults. Like all Folkmanis they are sturdy and finely crafted and should last for a very long time. I’d not bother with the Jack-in-the-Box myself, but the rest are definitely worth the purchase price.’
What’s New for the 6th of July:
If you’re looking for Iain, our Librarian, he’s off again on a vacation trip, errr, I meant another short concert tour with his wife, violinist and vocalist Catherine, in the Baltic nations. While he’s gone, Gus has the Library Apprentices, the Several Annies, assisting him with much needed gardening work, so I’m writing up What’s New this edition without their usual assistance as well.
I just remembered that I’ve got a tale of how Karen Wynn Fonstad’s The Atlas of Middle-Earth came to be a learning lesson for a group of Several Annies which you can read here. For just how important Tolkien thought maps were to creating his world, go read our review of his epic work, The History of Middle-earth.
Jennifer reports on the class war between inaccurately-privileged fantasies in genre Regency romance and the genre’s better examples, notably Barbara Monajem’s very excellent Rosie and McBrae Regency Mystery series. The series starts when a young woman of title loses her husband, and her mother tries to have her committed to a mental institution for having obsessive-compulsive disorder. Then someone starts sending the widow poison pen letters trying to drive her to suicide. Then society’s latest and most celebrated anonymous cartoonist, who exposes dirty laundry among the Upper Ten Thousand, falls in lust with her. Wackiness ensues! And that’s just book one.
Lory notes, ‘In the early years of the twentieth century, A. A. Milne was a well-known writer of plays as well as humorous essays and poems. The Red House Mystery, published shortly before he became world-famous as the creator of Christopher Robin and Winnie-the-Pooh, is his only detective novel. In his tongue-in-cheek introduction, written after the Pooh craze had struck, he explains that “it is obvious now that a new detective story, written in the face of this steady terrestial demand for children’s books, would be in the worst of taste.” For mystery enthusiasts, this is a pity — for Milne’s take on the genre was as breezily accomplished as any of his other pursuits.’
Lory waxes about an unusual mystery in Farthing: ‘Jo Walton has a knack for genre fiction with a twist. In the World Fantasy Award-winning Tooth and Claw, she gave us a Victorian family saga — complete with siblings squabbling over an inheritance, the woes of the unwed daughters of the house, and the very important question of What Hat to Wear — with a cast of dragons, literally red in tooth and claw. Now in Farthing, her material is the mid-century British country house murder mystery. The story is told in alternate chapters through the eyes of Lucy Kahn, a reluctant visitor to the family estate of Farthing, and over the shoulder of Inspector Carmichael, who has been sent from Scotland Yard to investigate the death of one of the other guests.
Evidence of political backbiting, personal blackmailing, and marital mismatches piles up as usual in such scenarios, but the most startling piece of all (and the most overlooked by the central characters) is that this Britain of 1949 has been at peace with Hitler for eight years, letting him take the Continent in exchange for leaving Britain a nominal independence.’
Michael looks at James Stoddard’s The High House and The False House: “Welcome to the House that God built. Evenmere, the High House, that unending ever-changing building which crosses and contains worlds. It is, and represents, all Creation, an enigma, a parable, a mystery. Within its halls and rooms, passages and basements, attics and terraces, are the undreamt worlds, the lands of dream, places like Ooz and Innman Tor and Arkalen. The House bridges upon our own world, but is far more than a house. It just Is.,
Robert finishes off a look at ‘Moonheart may very well be the first novel by Charles de Lint that I ever read. I can’t really say for sure — it’s been awhile. It certainly is one that I reread periodically, a fixture on my “reread often” list. It contains, in an early form, all the magic that keeps us coming back to de Lint. (And be reminded that Charles de Lint may very well be the creator of what we call “urban fantasy” — he was certainly one of the first to combine contemporary life and the stuff of myth.) It’s a novel that is centered on a Place, a location that is a portal between worlds.’
Jennifer offers chilaquiles for breakfast on a hot summer morning. No, really. When your ears are sweating a little, you don’t notice the heat outside so much. Your clothes smell delicious all day. Takes ten minutes. Any lucky soul who shares your breakfast with you will roll over with their paws in the air and love you for a solid week afterward.
Craig dug around in his film library to come up with the lighthearted baseball fantasy It Happens Every Spring. ‘Most films would feel a need to moralize on its characters’ actions instead of just letting them be. This film holds no such pretentions. It is simply what it is: a movie about a man who loves baseball utilizing a happy accident in the name of love. And it’s all the better for it.’
Robert has this to say about Craig Thompson’s Habibi: ‘Craig Thompson’s Habibi is a sprawling tale (that’s 672 pages of sprawling) that relates the adventures of two lostlings, the girl verging on womanhood Dodola, and the much younger Zam, a boy who she finds lost in the desert. They stumble across a ship that somehow has found its way to the desert (whether abandoned before or after it arrived there is anyone’s guess) and there make a life until through one circumstance and another each independently leaves — or is taken away.’
In new music, Gary reviews Twilight Blues by Poi Rogers. ‘This Santa Cruz based duo tossed the cowboy country western ethos of the Sons of the Pioneers with the warm tropical stylings of Hawaiian style lap steel guitar music and came up with something all their own,’ he notes. ‘It’s a winning formula that mixes roughly equal parts Western swing, cowboy campfire songs, Commander Cody and Ennio Moricone, all done with big smiles and lots of Cali sunshine. And they’re dog lovers to boot!’
Gary also reviews Invocation, the new one from Seattle Latin jazz trio Duende Libre. ‘Duende Libre’s core members — composer, bandleader and pianist Alex Chadsey, bassist Farko Dosumov, and drummer Jeff Busch — have been making music together for quite a few years now, and it shows in the tightness and easy flow of this set of eight originals rooted in the traditions and rhythms from Cuba, Brazil, and West Africa.’
From the Archives, Big Earl liked most things about a compilation of Hawaiian steel guitar music from Rounder. ‘A re-issue of a 1974 release, Hula Blues is a loose compilation of several artists who explored the possibilities of the lap steel (whether electric, acoustic or Dobro/National resonators) in the decades before the more complex pedal steel was invented. To paraphrase Ry Cooder, this music is often “highly hookey.” Cheesy pop tunes, oddball standards and quasi-hokum tunes abound. This only adds to the novelty of this disc and lends it a wonderful charm.
Christopher reviewed a couple of early discs by jazz pianist Michael Kaeshammer: Tell You How I Feel and Strings Attached. ‘Kaeshammer has a great left hand, as befits a boogie-woogie aficionado. And his right hand ain’t too shabby neither! Check out the other of his two originals on this disk, “Jivin’ with Dal,” to hear what he can do. He builds a fast and funky bottom, then begins to dance around with the melody above. Later he swaps, letting his left hand ‘solo’ while his right comps. All in all Tell You How I Feel would be impressive if it came from a twenty year veteran of jazz clubs, let alone a newcomer not yet 20 years old.’
Dean enjoyed most of the compilation and tribute album What’s That I Hear: The Songs of Phil Ochs. ‘What’s That I Hear includes 28 tracks from a wide spectrum of musicians. Regardless of style the best interpretations are those which stay true to Ochs’ spirit, and the worst are those which resort to the too-earnest whining which seems to be the default setting for folk and protest singers.’
Lars truly appreciated the traditional folk music of Magpie Lane’s A Taste of Ale. ‘Magpie Lane is a six-piece folk group from Oxfordshire. They only use acoustic, mostly traditional instruments such as assorted squeeze boxes, fiddle, guitar, whistles, flute, recorder and percussion. They have no intention of rocking up their songs or modernizing them. Instead they produce a sound with clear mediæval influences. With all six members singing, they are strong vocally as well as instrumentally.’
Mike appreciated pretty much everything about The Bluegrass Patriots’ Springtime in the Rockies. ‘Whether this band is covering A. P. Carter’s “Winding Stream,” or the Tompall Glaser/Harlan Howard hit “Streets of Baltimore,” or traditional numbers like “Down in the Valley” and “Eat at the Welcome Table,” you’re going to get that real old time sound. There aren’t that many bands of this caliber any more that promote the original sound pioneered by Bill Monroe and friends. These good old boys play it all fresh while keeping it tight and true.’
Noam had mixed feelings about Phil Ochs’s The Early Years. ‘Herein are collected twenty songs (running time a generous 74 minutes!), all from the years 1964-1966, which could easily be seen as the halcyon period of Ochs; the majority of the songs are live solo performances from the Newport Folk Festivals of those years, whereas the first five are taken from a then contemporary Vanguard sampler album.’
Our What Not is from Kage Baker who was a storyteller beyond compare, be it in emails as Cat can well attest, at Ren Faires with her sister Kathleen serving up ale, lovingly critiquing quite old films, writing stories of chocolate quaffing cyborgs, whores who decidedly didn’t have hearts of gold, or space raptors who are actually parrots now. So it won’t surprise you that was a master narrator of her own stories as you hear as when she reads for us ‘The Empress of Mars’, a novella she wrote. It was shortly before her death supposed to be included on a disc with a chapbook of the novella but the small press went tits up before that happened so she gave me permission to host it here.
So the Infinite Jukebox, our somewhat fey media server, has a song written and performed by Johnny Cash’s daughter, Rosanne, that shows that she’s every bit as great covering her own material as she is covering his material as she did here. This week it’s ‘Runaway Train’ which comes from the same Bimbos concert in San Francisco that January evening. It details the end of a relationship that may or may not have been about her own such ending but it’s certainly heartfelt.