Wayne Press: 446 books

The sheer volume of responses to the first issue of Fairy Tale Review shows that fairy tales continue to be one of the most viable art forms. In fairy tales, all things are interdependent, mysteriously and insanely entwined. They contain a deeply ecological world. The Green Issue is devoted to new fairy...

The Aquamarine Issue is the fifth anniversary issue of Fairy Tale Review, and is appropriately its most oceanic, its most aesthetically diverse, issue to date. Despite this diversity the fairy tale pulse or “feel” is present in each piece in The Aquamarine Issue. What also contains this issue and...

Ochre is the color of our earliest stories. It is the color we chose when we wanted to make paintings on the walls of caves, in places that never did learn the name of sunlight. By the grace of small fires we etched in ochre; we coughed at the smoke in a confined area but also the absurdity of things...

The Blue Issue is the inaugural issue of Fairy Tale Review. Swiss scholar Max Luthi wrote about fairy tales as literary examples of abstract art. The strange quality that Luthi identifies as “firm form” is sparse, flat and depthless as it is wild, weightless and bright. The writing selected for the...

This issue is themed around yellow: the color of my skin, my namesake, the color used to describe four billion plus Asians, and this doesn’t even account for the diasporic population. Yellow, the color of diseased skin and diseased people. Yellow, the color of aging. All these denigrations contained...

When we speak of grey as a location, placing a thing into a grey area, the color represents territory where the definite becomes lost. Grey lets us know that the truth is not always clear; even the most well-known paths can turn strange when a low grey cloud of fog rolls in. Grey is an act of subtraction,...

Mauve is a new word with old roots. The color’s earlier incarnations—Tyrian purple (given for the shade of Roman emperors’ cloaks) and aniline purple—were abandoned when, to increase the popularity of Perkin’s dye, its sellers named the color after a French flower called the mallow. When we...

The Translucent Issue is a break from tradition. In some ways, colors are an easier, more obvious entry point into the world of fairy tales. It is not transparent, and thus never explicit on the page—the Brothers Grimm rarely editorialized—but then again psychology is rarely explicit. It is a partial...

“All great novels are great fairy tales,” wrote Vladimir Nabokov many years ago, and Fairy Tale Review continues to believe that all great literary works owe everything to fairy tales. In this issue you will find work represented that draws from the spectacular, old tradition of fairy tales in brilliant...

“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...

Fairy Tale Review is an annual literary publication dedicated to publishing new fairy-tale fiction, nonfiction, and poetry. It seeks to expand the conversation about fairy tales among practitioners, scholars, and general readers. Contents reflect a diverse spectrum of literary artists working with fairy...

Brown is the color of the wolf, of the harvest-ravaged farm, of thatched roofs, of cinnamon cake, of autumn, of snuff, of wooden boxes (bridal chests, watch cases, humidors, coffins). If ever there was a color more suited to earthly existence, it’s the color of earth itself. And earthly existence is at the very heart of fairy tales, despite all the unearthly circumstances depicted.

Like all fairy tales, the story of Little Red gets strength from its multitudes. It is a moving hive, a travelling pack of translations and interpretations too numerous to catalogue. It manages to examine our most salient tropes in binaries, and the equators formed in this contrast are tangential contradictions:...

Ralph Nash, in his approach to Gerusalemme Liberata, concluded that a close, fluent translation in prose of Tasso's epic would offer the most successful rendering of this important chivalric romance.