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Faerie is a perilous land, and in it are pitfalls for the
unwary and dungeons for the overbold.
J. R. R. Tolkien (1947)
Fairy tales fascinate the public, young and old. Despite vast changes in mores and beliefs, they fiercely persist. Their endurance is testified to by the fact that, in addition to the dozens of fairy-tale–inspired children's books that are published annually to unfailing profit, there appeared, between the years 2010 and 2015, at least one movie a year with a fairy-tale title or theme.† Fairy tales continue, moreover, to spawn a
Although some of these were admittedly lackluster, and others must be deemed shamelessly sensational or trite, their presence on the contemporary cultural scene betokens a sustainable public interest in the genre. A partial list of these five years of fairy-tale–inspired filmmaking from most to least recent would include Kenneth Branagh's Cinderella (2015), Rob Marshall's Into the Woods (2014), Robert Stromberg's Maleficent (2014), Christophe Gans's Beauty and the Beast (2014), the Disney Studio's Frozen (2013), Tommy Wirkola's Hansel and Gretel: Witch Hunters (2013), Rupert Sanders's Snow White and the Huntsman (2012), Tarsem Singh's Mirror Mirror (2012), Daniel Barnz's Beastly (2011), and Nathan Greno's Tangled (2010).
robust scholarly literature. Over the past few years, three important works have appeared that may intrigue psychoanalysts, who are required by their professional duties to listen hour by hour to patients' stories and parse them for their many meanings. Paramount among recent volumes is the first translation into English—200 years after the fact—of Jacob and Wilhelm Grimm's original edition of fairy and folk tales, their Kinder- und Haus-Märchen (1812). The Complete First Edition: The Original Folk and Fairy Tales of the Brothers Grimm came out in 2014, and was joined a year later by fascinating new scholarship on the impact and afterlife of the tales by their eminent translator, Jack Zipes, whose contributi