Black Swan, White Raven.

Ellen Datlow; Terri Windling.

DEDICATION.

For Alan Lee, a connoisseur of fine fairy tales, with gratitude for many years of friendship and creative support.

-TERRI WINDLING.

For Jack Heidenry, who may not remember, but got me started editing anthologies.

-ELLEN DATLOW.

INTRODUCTION, by Terri Windling and Ellen Datlow.

Many scholars over the last century have attempted to define why fairy tales and fantastical myths can be found in the oldest storytelling traditions of virtually every culture around the globe. Some scholars view magical tales as prescientific attempts to explain the workings of the universe; others see in them remnants of pagan religions or tribal initiation rites; still others dissect them for symbolic portrayals of feminist or class history. The most fascinating thing about fairy tales is that there is some truth in all these different views. There are many ways to interpret the old tales, whether as allegory or metaphor, as art or simple entertainment. No single deconstruction of a fairy tale is "correct," no single version of a tale is the "true" one. The old tales exist in myriad forms, changing and adapting from culture to culture, from generation to generation. Like the wizards who roam through enchanted woods, the tales themselves are shape-shifters: elusive, mysterious, mutable, capable of wearing many different forms. This fact is at the core of their power, and is the source of their longevity. It is also what makes them such useful tools to the modern writer of fantasy fiction.

"A true fairy tale is, to my mind, very like the sonata," said the nineteenth-century fantasy writer George McDonald. "If two or three men sat down to write each what the sonata meant to him, what approximation to definite idea would result? A fairy tale, a sonata, a gathering storm, a limitless night, each seizes you and sweeps you away." A century later, J. R. R. Tolkien compared fairy tales to the bones from which a savory broth is extracted. Each storyteller dips his or her ladle into that bubbling cauldron of soup, and then uses it as the base of a dish individually spiced and flavored. The soup has been simmering for centuries-there are no cooks we can credit as the originators of the first fairy tales; there is no single version of each tale we can point to as "definitive." At best, we can point to the authors of distinctive variations on old, common themes: Charles Perrault's French "Cinderella" is the "ash girl" tale we know best today; Hans Christian Andersen's Danish "Little Mermaid" is the best known of the "undine" legends; the Grimm Brothers' chaste German rendition of "The Sleeping Beauty" is the one found in modern fairy-tale books (as opposed to much older versions in which the slumbering princess is impregnated by a passing prince, and does not awaken until the birth of her twins).

Each of these well-known fairy tales is based upon themes that are universal. The earliest known versions of "Cinderella," for instance, date back to ancient China; one finds her in the Middle East, in Africa, and even here in North America (in such stories as "The Rough-Faced Girl" told by the Algonquin tribe). While the flavor of each tale might change according to the culture, the times, and the teller, the core of the tale remains the same-because at their core, these are stories that speak of the most basic elements of the human condition: fear, courage, greed, generosity, cruelty, compassion, failure, and triumph. As a result, their themes are as relevant today as they were back in centuries past.

The old tales of the oral tradition have been entwined with written literature since at least the sixteenth century, when Straparola published his magical, bawdy The Delectable Nights in Venice. The literary fairy-tale form includes Basile's Italian Story of Stories, the conte de fee of the French court writers (D'Aulnoy, de Beaumont, Perrault et al.), works by Spenser and Shakespeare in England, and by the eighteenth-century German Romantics (Goethe, Hoffmann, Novalis). These were all works written and published for educated adult audiences-for it was not until Victorian times that fairy tales came to be considered stories specifically meant for children. Victorian editors, creating a new publishing market of books for younger readers, drew upon the magical tales of the past (a cheap source of story material) and changed them to suit their own ideas of what was proper for children's ears, turning feisty heroes and heroines into models of Victorian behavior. These are the versions of the tales that are best-known in our own century; as a result, most people now think of fairy tales as simple children's stories in which pretty, passive, feckless girls grow up to marry their rich Prince Charmings.

A look at the older fairy tales quickly disabuses us of this notion. Pre-Victorian tales were more ambiguous, more violent, more sensual or downright bawdy, and unflinching in their portrayal of the complexities of the human heart. "The Armless Maiden" is one such tale, of a girl brutally maimed by her own parents; "Donkeyskin" is another, with its frankly incestuous theme of a king determined to marry his own daughter despite her protestations and despair. Hansel and Gretel are abandoned in the woods; the son in "The Juniper Tree" is beheaded; Snow White's lovely mother orders her child's heart cut out, boiled, and served for dinner. In older versions of fairy tales, such acts were not foisted off on "wicked stepparents"; these were the acts of the parents themselves: of kings who are less than wise; and millers who are less than strong; of queens, housewives, and sisters slowly simmering with rage. In the universe of fairy tales, the Just often find a way to prevail, the Wicked generally receive their comeuppance. But a close look at the stories reveals much more than a simple formula of abuse and retribution. The trials our heroes encounter in their quests illustrate the process of transformation: from youth to adulthood, from victim to hero, from a maimed state into wholeness, from passivity to action. As centuries of artists have known, this gives fairy tales a particular power: not as a quaint escape from the harsh realities of modern life, but in their symbolic portrayal of all the dark and bright life has to offer.

In our century, fantasy writers (and modern poets) are the artists who speak this symbolic language best, using timeless themes and potent archetypes to comment on modern life. The late Angela Carter is a writer who has done this more thoroughly, more beautifully, than any other, particularly in the adult fairy-tale stories of her collection The Bloody Chamber. The poet Anne Sexton worked brilliantly with fairy-tale themes in her luminous collection Transformations. Margaret Atwood, A. S. Byatt, John Gardner, Marina Warner, and Sara Maitland are all writers who have used fairy-tale motifs for works published in the literary mainstream; while in the fantasy genre, Robin McKinley, Tanith Lee, Jonathan Carroll, Delia Sherman, Jane Yolen, and others have written works of adult fairy-tale literature as fine as any on the mainstream shelves.

Like the authors above, the writers in this volume have taken the themes of classic fairy tales and reworked them into stories of their own: stories that are both old and new, both bright as white ravens, dark as black swans. You'll find new takes on the fairy tales most familiar to Western readers: "The Sleeping Beauty," "Snow White," "Rapunzel," "Hansel and Gretel," and "Little Red Riding Hood"-as well as intriguing new reworkings of "Tom Thumb," "Thomas the Rhymer," "The Tin Soldier," "The Soldier and the Tinder Box," and other tales. Why do so many of us continue to be enspelled by fairy tales? Why do we continue to tell the same old tales, over and over again? Because we all have encountered wicked wolves, faced trial by fire, found fairy godmothers. We have all set off into unknown woods at one point in life or another. Such stories have been told, retold, passed on from mouth to mouth for thousands of years. The stories that follow are part of a tradition that is as old as storytelling itself.

-Terri Windling, Devon and Tucson, 1996.

-Ellen Datlow, New York City, 1996.

MICHAEL CADNUM.

Michael Cadnum lives in northern California and is a poet and novelist. He is the author of eleven novels including St. Peter's Wolf, Ghostwright, Calling Home, Skyscape, The Judas Glass, Zero at the Bone, and an illustrated book based on Cinderella called Ella and the Canary Prince (Cobblestone Press). He has also published several collections of poetry, most recently The Cities We Will Never See.

"The Flounder's Kiss" is based on the Grimm fairy tale "The Fisherman and His Wife." Cadnum's version follows the traditional tale of greed but transforms it into something more cheeky and simultaneously more sinister than the original.

THE FLOUNDER'S KISS.

by Michael Cadnum.

My beautiful bride said if you spend all your time fishing the river, you catch nothing but monkfish and bream. You get water wens all over your feet. If you want money, she said, you go sea fishing.

So there I was, a river man all my life, marrying after I had nine gray hairs, pricing fisher's small-craft at the weekly sale. Most of those belly-up clinker-builts belong to dead fishermen, their bodies feeding crabs, and everybody knows it. It keeps the prices down, but I decided to be a beach fisher, and I had some luck. You have to take the long view. You like whelks, you eat whelks. Shellfish don't bother me. When I don't catch anything, the tide all the way to the sunken merchantman in the mouth of Zeebrugge harbor, I trudge back and start clamming. Eight, nine you have supper.

Yanni, my rose-cheeked wife, would say, "All day out there, and you come home with what?" That lovely mouth of hers, working nonstop.

"I have six fine cockles," I would say. Or, if the tide had run well, two fine whiting. Or two soles, or John Dory, or a dozen pier mussels. Whatever it was, and they were always prime. I don't want to eat anything diseased or deformed or that looks peculiar. The fact is some days I can't bring myself to eat fish. It's not just that fish flop around with their mouths open. They have slits they breathe through and eyes that look up like pennies, and there's nothing you can do to tell a fish to lie still. You can use one of those mallets especially made for shutting fish up, head hammers, the dorymen around here call them in their usual jocular way, but about the only thing you can say to a fish is nothing.

Tourists love it. We put on these wooden mud-treaders, and you can hear them calling to their kids, "Look, how darling, wooden shoes." And I, for one, always wave and smile. I know they can't help it, so far from home and nothing to look at but a man going to work with about twenty ells of net on his back.

"You bother to catch one pilchard, Weebs, you might as well catch a hundred," my wife would say. Always sewing, needle winking up and down. Skirts, blouses, collars, gloves. "I might as well be a herring gull you come back with such tiny little fish."

"It takes a lot to maneuver the net with just two arms," I would answer. "You need a strong back and a feel for the current."

"You've got talent, Weebs," she would respond. "A rare genius. You ought to win a prize for being able to work for less money than anyone who ever scraped mud."

"You want me to catch flounder."

"Eels," Yanni would reply, squinting at her needle.

"Eels have two hearts," I would say. "They crawl over land. They have conventions in the ocean, they have nests in the hills. An eel is too complicated to eat. I like pilchards. You can hold a fish like that in your hand."

"Men," my wife would say.

"There's something about a herring that says I'm made for eating, it's okay to eat me, I have an eye on each side of my head, and I am going to be eaten by something I never saw coming, it might as well be you."

"Catch something worth the effort," she would reply. Bored, having given up on me. But still talking about it, one of those people who can't shut up. She would walk into a room making announcements saying she was cold, I would be late for high tide, why was it so dark, where was her darning.

It was a glorious day for watching clouds. I had caught nothing. The sea was filthy, a gale out of the northwest. All the horsefishers were in their stables. The sailorfishers were sipping juniper spirits by their fires, and there was only I myself, on the broad flat beach. I didn't want to come home wet with rain and wet with brine, blue and nothing to show for it but a pocketful of limpets.

You cast your net and it looks pretty, black lace spreading out. When it drifts down over the water there is a splash where the netting settles, and the sound of it is what satisfies. Casting the net, you feel the waves calm under the span you mended, and sometimes I could do it well into the dark, regardless whether or not I caught a fingerling.

I was almost ready to quit for the night. One more cast, I told myself. Just one more. It's a serene sight, the net sweeping up, hanging over the waver, lifting with the wind. The net drifted onto the sea. And it happened. The net tugged, tightened. And there it was as I hauled in the net, the famous fish, the size of a Michaelmas tureen, fat and silver.

I have a great aversion to flounders. I can't stand to take them by the tail, much less slit one open. They have their eyes close together on one side of their head, and they swim around blind on one side, looking up at the sky with the other. I want something simple to eat, not a living curiosity.

I realized, however, that it was worth a guilder or two, a fish like this, an armload, and while I am not the most gifted fisherman alive, I am no fool. I pulled the one-sided creature out as it flopped in the net. I dragged it onto the beach and untangled the net, and then I heard something. I looked up, looked around, my head tilting this way and that. The wind was whistling, and I was not sure what I heard.

Maybe it was a tourist talking, one of the day-trip spinsters out of Southampton; they ferry across and flirt at a distance. They say things like "what a wonderful fish you have just caught," in German, as though I would ever speak a syllable of the language. The tourists are the equivalent of herring themselves, the poor dears. It would be just like one to be chattering in a rising wind in the dusk in the middle of nowhere. Not just talking, arguing, jabbering to make a point.

I stooped to gather in enough fish to buy a silver thimble and a bolt of silk when I realized that the muttering was close to my ear. I dropped the flounder. It smacked the sand and made that shrugging flopping I hate in fish-why can't they just fall asleep and die? The fish said clearly, but in a small voice, "Wish. Go ahead wish. Just wish. Any wish. Don't wait-wish."

I seized my gutting knife and just about used it, out of horror. But instead I asked it a question. My brother shovels waffles into the oven on a paddle and has a cellar of cheese. My sister married a brewer, and has beer and fat children. My father took tolls on a bridge with carved seraphim and saints, burghers and fair ladies and military men calling him by name, wishing him well.

And I was talking to a fish.

And the fish was talking back. "Any wish. Then let me go."

It was persistent, this idiot babble. So I made a wish. I asked for a bucket full of herring, pink-gilled, enough for tonight and a few left over for the market.

By candlelight Yanni picked a spinebone from her mouth and said, her eyebrows up, not wanting to admit it, "That was most delicious, Weebs. Most tasty little fish I have ever supped upon."

"There's a story behind that fish," I said.

She gave me one of her bedroom glances, dabbed her pretty lips.

"But never mind," I said.

"Tell me," she said.

I pushed my plate away, put my elbows on my table, and took a sip of beer, dark brew, tart, almost like vinegar. I smiled. I said, "You won't believe it."

Not a quarter of an hour later I was wading into the surf. "Fish!" I called. "Big fish! Flounder!"

It was raining hard. Despite what you might have heard, there was no poem, no song. There was a lump on my head, and one eye was swelling shut. I bellowed into the wind, now straight out of the north. "One more boon," I asked.

Waves broke over me, drowning the sound of my voice. There were no fish. The fish were vanished from the sea. I stood drenched, about to turn away, when the fish was there at my side, its eyes two peas side by side.

"One more!" I said. I was standing in a storm talking to a fish, and before shame or common sense could silence me I repeated Yanni's desire.

I hurried back, running along the dike. Cows with their big, white foreheads stared at me from within their mangers, and when I half collapsed in my cottage she seized me by jerkin and turned me around. "Look!"

The kettle had unbent its hook, fallen into the fire, solid gold and impossible to drag out of the embers. "It's going to melt!" she cried.

"You wanted it turned to gold," I said.

"Go back and get this made into money."

I panted, dripping, catching my breath. "Money?"

"Coins! Sovereigns, ducats, dollars. We can't do anything with this."

"It's beautiful!"

"And then ask for brains, Weebs. For you. For inside your head."

"You should try to be more patient, dear Yanni," I said. I think it was the only time I had ever offered her such advice.

She put her hands on her hips. In her apron and her cap she told me what she thought of me. All this time I had thought her pensive, moody, emotional. But I thought she loved me.

I took my time. The wind was warm, out of the west now, and there were a few stars. When I was a boy I would want to stand outside in the wind and feel my sweater and my sleeves billow and flow, flying. Both feet on the ground, but flying in my heart.

"Fish! Magic flounder!"

It must have known. Once it began to trade in human desire it was finished. No net is worse. It nosed upward, out of the waves. Why it even listened I cannot guess. I thrust my hand into a gill, seized a fin, and hauled the creature with all my strength. I dragged it up where the sand was dry, black reeds, gulls stirring, croaking.

The fish was talking nonstop. I tugged my knife free of the belt and cut the flounder, gills to tail, and emptied him out on the sand.

There has been some question about my wife. Some say the fish renounced the boons, took it all back, and sent us into poverty. Some say my wife left me, taking the golden kettle with her, swinging it by one fist, strong as she was famous to be.

Proof against this is the kettle I still possess, heavy as an anvil, chipped at slowly over the years, shavings of pure gold to buy feather quilts and heifers. And this is not the only precious metal in my house. A golden pendant the shape of a woman's mouth dangles ever at my breast.

A parting gift? some ask.

Or a replacement for her, suggests the even-smarter guest with a chuckle, enjoying my roast goose.

Fish do not die quickly. They take their time. And even a magic fish is slow to understand. Give me silence, I wished, crouching over him, knife in hand. Silence, and the power to bring her back someday, should it please me, one kiss upon her golden lips.

KAREN JOY FOWLER.

Karen Joy Fowler was born in Bloomington, Indiana, and currently lives in Davis, California, with her husband and two children. Her first book, Artificial Things, was a collection of short stories. Her second, is the remarkable novel Sarah Canary. Her second novel, The Sweetheart Season, has recently been published. According to Fowler, it's packed with useful housekeeping tips and those alone will be worth the cover price.

The story of Sleeping Beauty is one of the most popular fairy tales and it has inspired numerous variations. "The Black Fairy's Curse" is a brief, startling tale, the first of two new reinterpretations.

THE BLACK FAIRY'S CURSE.

by Karen Joy Fowler.

She was being chased. She kicked off her shoes, which were slowing her down. At the same time her heavy skirts vanished and she found herself in her usual work clothes. Relieved of the weight and constriction, she was able to run faster. She looked back. She was much faster than he was. Her heart was strong. Her strides were long and easy. He was never going to catch her now.