Feeds:
Posts
Comments

Posts Tagged ‘short story’

What is a pear tree, and what does it mean for a king to have one in front of his castle that provided the most beautiful fruit? And why most beautiful, why not the sweetest or the juiciest?

And why should we concern ourselves that each year, at the moment the pears were juiciest, they would disappear before the could be harvested? How was it that no one saw the culprit or knew what happened to the fruit?

We know the king had three sons, and that three is a cardinal number for such tales, but why is there always only one son who is somehow different? Why could there not be more than one dullard in the bunch, or if it be girls, more than one beauty? Why this singling out?

How predictable is it that the older, smarter brothers who guard the tree fail in their duty, and how do they manage to both do it in exactly the same way? Could the first brother not warn the second brother to be extra cautious the night before harvesting? Would not the king bring on other guard to help the second brother after his failure? Is this are just kingly pride and arrogance?

So when the older brothers fail in their task, does anyone expect the younger brother, the simpleton, to succeed? Each time before it took a full year for the fruit to mature, you begin to wonder, is it really worth all this effort? Again we come back to that pear tree: what made it so special?  Was it rare? Were there no others like it? Did everyone imagine the most beautiful fruit possessed some special powers?

Is anyone surprised when the simpleton succeeds?

So what do we make of this dove that comes the night before the harvest and carries each pear away one by one silently in the night? Is it significant that it is white? What alarms does a white dove signal, what symbolism is at play here? Purity? Virginity? Fidelity? Beauty? Peace?

A partridge in a pear tree, perhaps?

But when the simpleton follows the dove to a mountain and finds a little gray man standing beside him, why say “God bless you?” Is this an archaic form of surprise, a sort of religious expletive designed to delight through blasphemy?

So… how exactly do these words, then, release the little gray man from his spell?  What spell? How is he changed by all this? Is he no longer middle, or gray? Does being a little gray man suggest middle age? Is this all an allegory for midlife crisis?

When the little gray man tells the simpleton that he will find his happiness in the cliffs on the mountain, where the dove has disappeared to, why does he go? Is it because he’s a simpleton or because the story demands it? Is this simpleton truly so simple that he does what he’s told without question? Was he even unhappy to begin with?

And now he finds the bird, this dove, trapped in a massive spiders web… and he does nothing? He stands there watching the bird struggle to become free? Why? And what is it that compels the bird to struggle in such a way that it breaks free of the web, as if it would not wish to survive were it not for the audience? And when she does, this bird, this dove, break free, how does this act break her particular spell? Was she not freed from the web by her own actions? Again, is the simpleton as a spectator really all it took to free here?

Honestly, were both the little gray man and the dove waiting years for someone to follow a thieving bird in the hopes of being free? What are the odds?

Is anyone surprised that the dove was really a princess, and does anyone believe the married and lived happily ever after?

Does the king’s pear tree continue to produce beautiful fruit, or was that part of the enchantment as well?

Did people tell this story to their simpleton children in order to give them hope?

.

.

“The White Dove” is freely adapted from The Complete Fairy Tales of the Brothers Grimm translated and edited by Jack Zipes. This story, number 246, ran into a bit of a delay due to problems surrounding my proposed vacation to an area currently getting pounded by hurricane Irene. That issue — my vacation — is still being hammered out, but the Tales from the New Grimmoire continue forward. Eventually.

Read Full Post »

Once upon a time there was a young boy, which means that he is not longer.

When his mother died his father took on a new wife, the boy’s new stepmother, and we can all pretty much guess how the story went from there.

Or can we?

The boy’s new stepmother had a daughter and both loved the young boy very much. During the day the girl would play with her new brother and they became close companions. The stepmother devoted herself to the children, baking cakes and other small treats for them. Together they were a happy family.

But we know the boy is no longer alive, so something must have happened that would cause us to tell his tale.

Ah, yes. The pear tree.

One day the young boy had traveled into the nearby woods on his own. Exploring, as young boys do, he imagined himself a brave prince climbing a tower to rescue a princess. He had found a pear tree with a stout trunk made for a perfect tower.  He was so overcome with victory at reaching the top that he lost his footing and tumbled down through the tree, breaking his neck as his body wedged in tight among the branches.

His family spent days looking for the young boy, the girl weeping for weeks on end after it had been concluded that he had been lost for good. Consumed with grief, the family fell out of their routines and failed to notice that their stores of rye grain had begun to sprout a fungus before the stepmother baked it into a loaf of bread. That night at dinner, and again the next morning when they ate the bread with breakfast, the family ingested the ergot and began to hallucinate wildly. The father imagined his ax in the corner taunting him to chop his family to bits. The stepmother became dizzy and saw the world in hues never before seen. And the girl heard her brother’s voice in the song of a little bird that alighted in their window.

If you want to know
What happened to me
Look to the boughs
Of the old pear tree!

The girl knew exactly which tree she imagined the bird was talking about. She rushed into the woods with her parents following and when they reached the tree they looked up and saw what was left of the boy among the branches. Another bird – or perhaps the same one – landed nearby and began singing.

Although she seems kind
And full of good cheer
Stepmother’s the one
Who threw me up here!

The girl, horrified, related what the bird had told her and demanded an explanation from her mother. Unclear in her own mind, the stepmother began weeping and confessed to having killed the boy and throwing his body up the tree, though she admitted not remembering doing so. While the girl and her mother wept the father returned home to ask the ax for advice. The ax suggested he hack his wife to bits, and the father had determined to do so, but when he returned to the pear tree he found both his wife and her daughter had been flattened by a boulder that rolled down the hill and came to a stop at the foot of the tree.
.
.
“Stepmother” freely adapted from The Complete Fairy Tales of the Brother Grimm, edited by Jack Zipes. This is story number 253.

Once again we have the evil stepmother character, and aside from being tired of the repeated notion that a not-of-blood parent is inherently evil, what most interested me about the original was the ending. In the original the stepmother secretly chops up and serves the boy for dinner, the girl ties the bones together and tosses them into a pear tree, and the boy turns into a bird that comes back to tell them all what has happened. Then, out of nowhere, the stepmother is flattened by a giant millstone. Where? How? What the hell? I get that the stepmother must be punished, but the overall effect was of an old Monty Python sketch where someone would suddenly have a 16 ton weight dropped onto them from out of the sky.

So instead, I went with a more common set of explanations in keeping with the time: death by misadventure, and ergot poisoning, similar to what probably was responsible for that unfortunate business with the witches of Salem.

And a bloody boulder-out-of-nowhere.

Read Full Post »

A Carpenter found himself in Heaven and he enjoyed exploring the Grand Hall which was lined with row upon row of satin covered chairs, one for each of the Saints.  At the head of the Grand Hall stood a massive throne that was intricately carved and of the highest construction.  Wanting to get a closer look the Carpenter waited until the Grand Hall was empty to investigate.

From a distance what appeared to be ornately carved scroll work on the wooden parts of the throne were in fact detailed representations various creatures from the animal kingdom.  The arms of the throne were carved to look like intertwined snakes and lizards, the flat back like a manta ray, the legs of the chair were like totem poles of smaller animals, and so on.  But the most fascinating aspect of the throne was that the seat had been carved into an elaborate shuttered mechanism which would open like a camera iris and provided a clear view of the Earth below! The slightest shift of the Carpenter’s gaze through this viewing portal would allow him to view any one of the millions of people below.  Surely, thought the Carpenter, this is how One keeps track of Creation.

Then the Carpenter noticed something odd. In his gaze he caught sight of a man in a Great Hall on Earth that looked very similar to the one in Heaven.  The man on Earth looked almost identical to the Carpenter.  He watched in fascination as the man went up to the throne in the identical Great Hall and looked through a hole in the seat into what he imagined to be Hell.  It was as if watching a child mimic what an adult has done, thought the Carpenter. But on Earth the man made some kind of adjustment to the throne, removed a part of it, and threw it into the portal toward Hell.  This action so enraged the Carpenter for some reason that he immediately began searching for something to throw down to Earth to let the man there know he had been seen.  Finding nothing in the Great Hall to throw the Carpenter did as he’d seen and removed a foot from the throne – a detailed carving of a turtle – and hurled it through the portal where it struck the man on Earth on the head.  Confused, the man looked up toward the heavens and when he did the Carpenter had a clear view of the portal to Hell, which turned out not to look like Hell at all but another Great Hall.  Peering deeper he saw another Great Hall beyond that, and another beyond that.

Suddenly the Carpenter was struck upon the head by a heavy object that fell from the sky above. He picked up the object and was surprised to find it was an exact replica of the carved turtle he had thrown at the man on Earth.  Looking up the Carpenter saw a viewing portal in the sky with a man who looked very much like him peering down, and over his shoulder was another viewing portal, and beyond that another.

“What did you expect, Carpenter?” the One said, attaching the newly-arrived replacement foot to his throne . “It’s turtles all the way ’round.”

.

.

The New Grimmoire is my take on the stories found in The Complete Fairy Tales of the Brothers Grimm edited by Jack Zipes. This tale, number 260, originally published in 1818 and credited to Wilhelm, featured a tailor who witnesses another tailor throwing cloth into hell.  At the end God points out that he He’d punished the tailor in heaven for all his similar transgressions he’d no longer have any part of a chair to throw. Somewhere in my head I dredged up the oft-repeated paradox of the world resting on the back of a turtle, which itself is on the back of a turtle, and so on, turtles all the way down. I thought it might be fun to suggest in “all the way ’round” that instead of a straight line, time and space are curved into a circular infinity.

I’m not sure what die Brüder Grimm (or Professor Zipes for that matter) would make of this version.

Read Full Post »

I expected that sooner or later I would come across a Grimm tale that might sump me or leave me feeling less than inspired.  What I hadn’t counted on with this one was how boring it was, how much a chore it felt to get through.

It’s a Norwegian Fairy Tale, and perhaps that is its problem, that it loses something in the translation or the cultural exchange.  Maybe the original has a poetic lilt to it, or perhaps Wilhelm added some Germanic embellishments to it that have made it leaden.  I was preparing to concede defeat this week when I started the story one more time and found the hitch.

The story begins, as many fairy tales do, in the house of a powerful man in a faraway man.  And by powerful we must assume he has money to weadle influence over others, for he is not called a king and yet he has a court full of servants.  This becomes the necessary fantasy element that the storybearer desires, a place that causes the mind to fill in the missing details with tapestries and banquets and a life of leisure where hands remain soft and pink and uncalloused.  Naturally this man has a daughter whose beauty is known throughout the land.  And why not?  Can not the most powerful man demand the attention of the finest beauties from which to select as a breeding mate?  Note that I did not say wife, for she is not mentioned in this story and chances are she has been disposed of out of convenience, to either the storybearer or the man himself, makes no difference.

This girl, this beauty, her name is Aslaug.  Daily only the wealthiest and most handsome men come courting, looking to do as her father has done in finding and joining with a young woman whose looks matter most of all.  Ah, now I begin to see an entry to the story’s deeper meaning, for she rejects one suitor after another which makes her father increasingly mad.  Finally, Aslaug’s father has had enough of this.

“I have given you freedom of choice,” her father bellows, “but you have rejected every single man as if they are not good enough for you. Now I must put down my foot and submit an artificial deadline for you to make a selection or I will force you to marry a man of my choosing!”

Now we’re getting somewhere.

At this perilous moment the listener shall want reassurance that Aslaug has been operating from a set of principles her father does not understand. Surely she has fallen in love with someone her father would not approve of, a young man of the court who while certainly handsome is without wealth, someone her father would suspect as being a parasite. With a deadline approaching the young lovers would have no other recourse but to run off to a faraway land until Aslaug’s father had cooled to the idea.  And along the way there would be a land of enchantment, a place of magic, with giants and mysterious old women who give vague warnings and extract promises and…

Bah.

Running away is no answer, nor is inventing a mystical island with mythical underground creatures to provide our young lovers with a background for learning lessons about sacrifice and obedience.  The real story here avoids the most basic question: what does Aslaug really want, what is she truly running away from?

Aslaug wants a girlfriend.

Nowhere in these tales do we see women or girls in each other’s company.  They have no friends, and often no mothers, and when they have sisters they tend to be in competition in the attentions of another.  If they have brothers they may be equals and may be clever  but it is assumed they will one day grow to be married off.  These young women are starved for conversation, for bonding, and perhaps even for a love that dare not speak its name in fairy tales.  Theirs is a zero-percent world of acceptance and understanding. A love for anything less than “pure” or accepted is simply not discussed.  It would be better that these children, these girls, yearning for something beyond the realm if their entrapments find themselves at the whims of crones and giants and other creatures beyond the safety of our imagining.

And so, to finish the story off right, once her father has issued his ultimatum Aslaug says her peace.

“Father, you have boon good and kind to me these many years, and I do not wish to enrage you or cause you grief, but I simply cannot accept your terms. You have often been too busy with your finances and your power to notice me and while I could fault you your blindness I instead assume you have meant well for us both.  It will most likely pain to provide details, though I do not wish you pain, but I have found a love and wish to be with them. It should not concern you who I love or why, only that they make me happy and that if there is anything of mine set aside in your fortunes I should like to use it to begin my own life with my love. If you insist I shall tell you in more detail as a condition of your blessing I will once again warn you that you will probably not approve, seeing as you do not know me well enough yet continue to offer one fresh-faced young man after another as a partner. Should my happiness mean anything to you, you will at least let me go without incident and we shall agree to reconcile our differences in the future. If, however, you truly love me and cannot imagine yourself in objection to anything I desire we may end this discussion amiably…

“And you will not be forced to make up some silly tale about my running off with a chamber boy and living on an island of underground creatures as a measure to save face among your people.”

.

.

The New Grimmoire is my weekly exercise in examining and reinterpreting the tales of the Brothers Grimm as found in the complete collection translated and introduced by Jack Zipes.  For those keeping score at home, this is tale 261.

Read Full Post »

The Silver Poplar

In the hills of California there lived a second generation hippie family named Priestly. Flint and Chenille had their teenage daughter Jade when they were far beyond the normal years for starting a family, and were more accustomed to the company of goats, but they love Jade with all their heart.

They were originally named Fromm, but after a distant cousin attempted to assassinate the President some years back they decided to Anglicize their last name to stop folks from asking them questions.  Not that they had a lot of interaction with people.  They had lived off the grid since the late 1960s and only went into town every fall to sell handicrafts and preserves during the harvest festivals. In many ways they were no different from the Amish except that they weren’t farmers, and less social, and probably should have bathed more frequently.

One fall day, as so often happens in California, a Santa Ana wind caught hold of the embers from a homeless encampment nearby and set the hills on fire. The Priestlys had no advance warning of the fire from their non-existent phone or television and were unable to evacuate their rammed earth cabin until it was almost too late.  Surrounded by smoke and flame Jade was separated from her parents and wandered for nearly a day before coming to a fire lane that lead to a town and safety. The fire raged for nearly a week before crews could bring it under control, and Jade staked out the command center in the hopes of hearing word from her parents.  After five days without food or sleep Jade passed out and was taken to an infirmary where she received her first expose to Western medicine and starchy food.

A waitress named Bonnie who volunteered with the Red Cross heard about Jade and decided to take her in.  Bonnie thought it best to keep the girl occupied so she convinced her boss to hire on Jade to help bus tables and run the dishwasher. Over time Jade came to accept that her parents had perished in the fire and resigned herself to a career at the diner.  Bonnie and Jade grew close, like sisters, even going so far as to spend their free days off driving the next town over to shop the better thrift stores and catch the early bird special and Senior Pancho’s.

One day at the diner a mysterious stranger appeared.  Actually he was a scruffy freelance photographer who still dressed like a college kid even though he was nearly 40 years old.  He was kind to Jade and without her realizing it she found herself flirting with him.  He said his name was Seamus but he went by the professional name Shame. Jade found herself spilling her life story to Shame, and by the time he’d finished his grilled cheese on whole wheat with a side of ketchup she would have walked out of the diner and followed him anywhere.

“I’ve got a job up north I need to do, maybe two day’s worth of work,” Shame said. “How ‘bout I pick you up on the way back. You could do some modeling in the Southland.  I know some people…”

The words were barely out of Shame’s mouth before Jade began fantasizing about how many reusable shopping bags she would need to bring all her stuff.  She decided it could all fit into two bags.

Shame drove several hours north to a tent city that had sprung up in the aftermath of the fires. Hundreds of displaced people and pets had converged on a small former mining town and taken it upon themselves to take their insurance money and start over fresh.  A variety of aid organizations helped out with daily needs and the county agreed to help connect them with water and sewer lines.  Shame had been hired to do a photo essay for a magazine and in seeking out an unusual angle came across a couple who were living in a log-lined dugout on the edge of town. The dugout had a small walkway lined with stones and in the front three saplings had been planted in a row. Shame had started taking pictures when the people who lived in the dugout emerged to investigate. They weren’t too keen to have their pictures taken but they became very animated when Shame asked them about the saplings.

“The trees on either side are local pines but the one in the middle is a silver poplar,” the man said. “We saved them from the fire and they have come to represent the life we left behind.”

“Once we settled here in town we meditated until the cosmic spirits confirmed that our daughter had not died in the fire,” said the woman.

“And we planted these trees to represent our family, and we know that as long as the poplar tree is thriving our Jade is still alive,” said the man, who happened to be named Flint Priestly.  The woman was his wife, Chenille.

Shame looked at the two old people, looked at the pathetic saplings, and decided to say nothing about Jade. Instead, he gave them a hundred dollars from his wallet in exchange for permission to take some more pictures. Seeing as the Priestly’s were struggling in an otherwise thriving new town they happily took the money and sent Shame away with a small jar of mountain berry preserves.

After Shame left, the Priestly’s went into town and proceeded to spend all their money equally on canning supplies and fruit. They had hoped to return to living simply and trading as best they knew how.  But while in town the shopkeeper found the Priestly’s to be suspicious and when the police were summoned Flint, who had grown up with fairy tales of police brutality against protestors during the Vietnam War, panicked and began assaulting the officers. In an attempt to flee Chenille destroyed a good deal of merchandise that she couldn’t afford beyond the money Shame had given them.  Charged with disturbing the peace, assaulting an officer, property damage, and under suspicion of theft, The Priestly’s were the first occupants of town’s newly built jail cell.  A county judge came to hear the case, gave the Priestly’s a warning, and let them return home as poor as they were when they went into town.

Shame arrived as promised to pick up Jade and they rode off to the Southland with a tearful farewell from Bonnie. True to his word, Shame hooked Jade up with a modeling agency and she quickly became the new “it” girl for her earthy looks. Her story of losing her parents in the fire, and a gallery show of tasteful nudes shot by Shame, guaranteed Jade would never have to worry about money. Known simply by her first name, she became a brand for natural beauty products, a clothing line made from natural fibers, and the face behind an international movement eliminate shoes.

“Shoes remove our only connection with Mother Earth,” she would say in the television ads, a line her mother had taught her as a child that would echo through her head late at night.

Shame and Jade remained together for years but never married.

Over time it began to eat away at Shame that he’d never reunited Jade with her family.  When had the opportunity he knew he was merely being selfish. He’d wanted Jade all to himself, and seeing how successful and happy she had become he felt he’d made the right decision in not taking her back to the log dugout in the hills. He got out the photos he had taken that day and remembered the story about the three trees. Soon he became obsessed with wondering how the trees were doing. So one day he told Jade he was going on assignment and drove north to see what had happened to Jade’s parents.

The town of Hope, as that is what they had named it, had grown to look like a prosperous small town from another era. Buildings were simple and modest, streets were paved but relatively free of cars as most people walked, and it struck Shame that the town looked as if it had always been there. He had to search long and hard but eventually he found the three trees.  They were no longer in front of a dugout home but instead stood in front of the windows of the town library. The pines on either side had barely grown ten feet but the poplar towered over them and sprung bright green.  The tree had prospered alongside Jade’s success, just as her parents believed it would. But the sickly pines caused Shame some concern.

The town librarian was new to Hope but she had heard stories about the Priestlys. After their incident in jail, they returned home and became reclusive. They ventured out either in the early morning or late evenings and no one knew what they were doing. One day they found Flint sitting on a curb sobbing with a magazine in his hand mumbling something about his lost daughter. The librarian believed that Flint had seen a fashion model who looked like his daughter and it was too much for him to bear. After that they abandoned their home and disappeared, presumably into the woods, and were never heard from again.

Shame returned to the Southland, stopping at a nursery along the way to purchase a silver poplar sapling to give as a gift to Jade. When he arrived Jade eagerly greeted him.

“Were going to have a baby!” she said.

And the three of them grew happily together for for a while beneath the shade of the silver poplar tree they planted in front of their family home.

.

© 2010 david elzey

.

The New Grimmoire is a story project where I retell and reimagine tales from the Brothers Grimm. They appear here on Thursdays.  Not every Thursday necessarily, but as they make themselves available to my muse.

Read Full Post »

That’s a deliberate typo, in honor of my revision work on my short story “Erosion.” I could have gone with “erision” but that actually looked more like a real word. Or a brand name.

It looks like this is going to be my workshop piece for the next semester. I thought the first draft as about five pages too long — about 2500 words — and my advisor thought it could drop down another 500 more. I don’t think in word count when I write, I usually don’t even check unless there’s a reason, but it did feel long-ish.

Because I threw in the kitchen sink. It’s a pretty broad piece of YA humor and I was interested to see what stuck. First major cuts included: the marijuana farm, the environmentalist conspiracy, wife cloning, the history of California wildfires, and the odd little one-liners that interrupted the tone.

The thing is still too long for workshopping. I need to play with margins a bit because the workshop pieces have a page maximum. It’s only a page and a half, so that’s a fraction of an inch all around. No sweat, I’ll make the page count.

Except…

I need to work on the motivation of the two main characters. That means adding words. Which means I’m going to have to go in and tighten paragraphs, shaving sentences her and there, maybe even a bit of over-cutting just to make the page count. I hate to work that way — things should be as long as they need to be — but perhaps I’ll feel differently once it’s sculpted into fighting trim.

I’ve got two days. That’s plenty of time. I like it the way it is, and it can’t really get any worse.

When is it safe to start thinking about shopping a story around? I only ask because I’m worried that once I get into the workshop it might feel like it’s impossibly bad. I’m looking to inoculate myself in advance by thinking positive.

Read Full Post »

Follow

Get every new post delivered to your Inbox.

Join 45 other followers