Rebecca Solnit, Alex Clark, Mallory Blackman discussed on VINTAGE Podcast
Announcement. Welcome back to the vintage books podcast. I'm alex clark and in this episode on thrilled to talking to a plane. Writers mallory blackman combination the rebecca solnit and jeanette winterson these wonderful writers of all written stories for a new series of feminist retailing's vintage classics aminist revolution four provocative visiting and urging students they open fairytales remixed and revived. The children and mallory retails bloop. It has story blue blood communist. Shamsi retails the ugly duckling in her story duckling rebecca solnit retail cinderella in cinderella narrator and janette winterson retail. I'm clean wapo story over with compassion and three at that. This compensation is part of an online and with the british library. Vintage huge sense to them sharing the recording a blanket and drink and bleepers in some in some way to be grappling with this idea of the possibility of a fairytale as an active real nazi radical empathy of actually considering it from different angles and thinking okay so for example in in rebecca's retailing him cinderella that yes there are all these the stepsisters. We thought rapacious hideous cruel actually just went having their needs met once really asking themselves what they wanted out of their lives. How important was that for all of you. That's just to reimagine all the different participants in the fairy stories where we just see women. Essential protagonist usually Mallory i stopped with you because again. You've got this ambivalence non-picky not a new story. Well for me i. The phone part of this was saying around with the original. For example in the original when blueberry comes home and finds out that That his wife his new wife has gone into the room and he says i'm going to kill you now and then. She begs her out the sister to go and call to her brother so they can come and rescue her. An i have Nia has brothers in this but and and one of them who knows kind of what's going on in one who doesn't and thinking it's is. It sat playing around with Assumptions and perceptions that i love so much in in in the very so i think i think the beauty fairy stories from around the world is that they encompass all kinds of points of view will kinds of ways of telling etc Embiid's part of the reason. I think they endure. And i i sold for example someone today saying that creating ah retailing's a fairy stories perhaps Moves us away from the original and detract from the original. And i found a really interesting point of view because i thought but do unless it -obituates original inefficiencies. What we're doing here is creating the imaginings that sits alongside the original and as ginette said it's about the connection and the communication. It's about me. It's about kind of taking the folks for example and playing around them having fun with them. Why not and then sort of presenting a new ideas. And so i was. I wouldn't be very interested in doing a a cover version of something that was exactly the same as the original. Then why boorda. So if you're going to do a retelling ordinary imagination a reimagining you have to make it your own. And i think that's what i loved about. This allowed us to do that. But it's really interesting anticipating common ridiculing. We just have not on the original. I mean these stories. All kind of folk tales of consumer on the way they've existed in many versions and kind of the idea of original there might be for example the version the most famous at any point by hans christian andersen's ugly duckling for example book. But really they all kind of as genetic saying the archetypes. Absolutely i mean a i will be no these stories go to many different iterations but also one of the things you do. Adaptation is i think your asking people if they read your version inevitably. I think they're going to want to go back to the original as well. A lot of them syntax. You're drawing more attention to it And you know just to sort of pick up on what mary was saying. I think one of the things you'll do. We do adaptation. It can't be just for the sake of the has to be something you're doing. That is different while still honoring the original in some way and both way of doing that is to just shift focus. You know or or to to show a slightly different angle show with me with the docking. I was really interested in that relationship with the mother who i sits on the brings her into the world but that ultimately serve so abused for bringing the strange creature into the farmhouse that she does her back on her child. And i actually. That's a really rich and interesting thing and and the idea that that might obliterate the original is is such an odd one. Because you're just you you're creating different versions The thing that was already as you say a different version of something. That was already there rebecca. I wrote this four or at least with your great needs in mind. She's also devotee of your book. Men explain things to me that idea of actually hosting something onto someone to a younger generation to someone close to you without being tactic showing a different way of looking at the world through your work. How important is nasty. You know i did. I definitely did it for her now. Her younger sister. Maya fairytale and.