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Labirint Ozon. Jack David Zipes. Jack Zipes has put together the first comprehensive anthology of feminist fairy tales and essays to appear since the women's movement gained momentum in the 's. He has selected works by such gifted writers as Angela Carter, Margaret Atwood, Tanith Lee, Jay Williams, Jane Yolen, Anne Sexton, Olga Broumas and Joanna Russ-all of whom, whether they consider themselves "feminists" or not, have written innovative stories which seek to break the classical tradition of fairy tales.

The accompanying critical essays, by Marcia Lieberman, Sandra Gilbert, Susan Gubar and Karen Rowe, discuss how fairy tales play an important role in early socialization, influencing the manner in which children perceive the world and their place in it even before they begin to read. And while he is there it is dangerous for him to ask too many questions, lest the gates should be shut and the keys be lost. Despite Tolkien's warning about the perils of exploring and reporting on the "realm of fairy-story," men—and, increasingly, women—persist in doing so.

Certainly, if we judge from the essays in Fairy Tales and Society, Don't Bet on the Prince , and from Wolfgang Lederer 's book-length study of "The Snow Queen," many questions are being asked, and the tongues, or pens, of the reporters are hardly becoming tied.

In fact, in the case of women reporters, tongues once bound are now being loosed, and the tales themselves are being freed to speak in unprecedented ways. And although Tolkien goes on to condemn the "analytic study of fairy-stories. Almost every poem in Disenchantments , according to Wolfgang Mieder, contains within it "a critical discussion" of a familiar tale; together, as his title suggests, they offer a sustained critique of the illusion that we can all "live happily ever after," at least as society is now constituted.

While the poems in Mieder's collection serve primarily to expose what their writers believe to be the lies and, more dangerous, half-truths of the best-loved fairy tales, the selections in Jack Zipes's anthology, according to his introduction, provide an alternative vision. As the title, Don't Bet on the Prince , indicates, the writers of feminist fairy tales reject not only the "happily ever after" ending but also the recommended means of obtaining it.

Nonetheless, these writers recognize the "uses of enchantment," its revolutionary potential. Although the most polemical and thesis-ridden of these new tales do perpetrate what Charles Dickens called a "fraud on the fairies," the best, like the best fairy-tale criticism, open gates to new realms, admit those previously excluded, and entice the disenchanted to reenter. On the one hand, he pays tribute to feminist fairy-tale scholarship: "In the past decade the women's movement in particular has sharpened our view of the role of the feminine in fairy tales.

Completely new perspectives have resulted" 4. On the other, he wonders whether some tales, viewed from these new perspectives, are not beyond the borders of modern fairyland: "As feminist commentators contend, there are, indeed, astonishing relics and role constraints in connection with gender from the patriarchal realm.

Can tales which pass on such material continue to lay claim to a legitimate place in the modern world? Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.

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This item:Don't Bet on the Prince: Contemporary Feminist Fairy Tales in North America and England by Jack Zipes Paperback $ First published in Routledge is an imprint of Taylor & Francis, an informa company. Follow the Author. Jack Zipes. + Follow.