I enjoyed these classes and I believe I’ve learned plenty. In all honesty, having a class solely on fairy tales interested me little; in truth I wanted much more to take the “Killer Stories” class. Nevertheless, the topic of the class was of less interest to me in the end, for the writing skills that I acquired in the composition portion of the class were, for me, invaluable.

The diverse array of narratives encountered in the fairy tale class offered insights into the cultural nuances, symbolism, and timeless themes that permeate storytelling across cultures and eras. It became evident that beneath the surface of seemingly simple tales lie profound lessons, reflections of societal values, and echoes of the human experience. The initial skepticism I harbored towards the class theme gave way to a newfound appreciation for the depth and richness that can be uncovered within seemingly whimsical stories.

Beyond the thematic content, the composition portion of the class became a crucible for refining my writing prowess. The constructive feedback received, coupled with the exploration of various writing styles and techniques, equipped me with a versatile set of tools to articulate ideas effectively. The lessons learned in structuring narratives, employing literary devices, and refining language have become invaluable assets that extend beyond the classroom, proving their worth in various facets of academic and professional endeavors.

As I reflect on the journey through this class, it is clear that my initial expectations were surpassed, and I emerged not only with a deeper appreciation for fairy tales but also with enhanced writing skills that will undoubtedly serve me well in future endeavors. The class, despite its thematic departure from my initial preference, stands as a testament to the transformative power of education, where unexpected discoveries and personal growth often unfold in the most unforeseen places.

The story “Cinderella” resembles, morally speaking, many of those that have also been with us since the beginning of our modern fairytale-telling tradition. As a result, many of the dated views of the societies in which they were first told/popularized are, even in today’s renditions, polluted with misogyny, which ultimately dilutes whatever moral the story was trying to apprise. In these retellings, she is seldom envisioned as anything more than “a thing” that must be saved or protected (by a man) from some adversary; and yet it is her name that the reader is struck by on the title page. The magnitude of her beauty and helplessness is made known immediately; the things that she finds herself having or needing are always out of her reach.
Unlike most of her audience (i.e., the readers), Cinderella is left really with two choices to make with her life: marry or perish. It can be implied that Cinderella’s life could have been cut short, like similar central female characters in other narratives, if it weren’t for the literal Prince Charming that comes in and saves his bride-to-be. The imaginative reader can imagine a myriad of alternate universes in which Cinderella lives the rest of her life under the roof of her stepfamily—growing old and eventually dying an unmarried woman—or even throwing herself over a bridge to end their reign of terror over her life. But neither of those scenarios occur. Instead, by powers unknown, she is blessed with a beautiful dress and jewelry with which she’s to adorn herself (Grimm). The story focuses on Cinderella’s marriage as the primary vehicle for her happiness reinforces traditional gender norms and expectations prevalent in the times when these stories originated. It suggests that a woman’s value and fulfillment are intrinsically tied to her ability to attract a suitable partner, often a prince or someone of high social standing (Bruce 24). This portrayal may inadvertently convey the message that a woman’s worth is defined by her marital status rather than her individual qualities, skills, or aspirations.
Cinderella’s housework serves as a metaphorical training ground for her future role as a “good and obedient” housewife in her anticipated life with the prince. The fairy tale portrays Cinderella as a virtuous and industrious young woman who diligently performs her chores despite the cruelty she faces from her stepmother and stepsisters. This portrayal reflects societal expectations and traditional gender roles prevalent at the time the story originated, as well as in subsequent retellings. The laborious tasks assigned to Cinderella, such as cleaning, cooking, and mending, symbolize the societal ideals of femininity that prevailed during the period when the tale was first popularized. Cinderella’s resilience and diligence in completing these tasks showcase her virtue and fortitude, qualities traditionally associated with idealized womanhood. The narrative implies that her ability to endure hardship with patience and grace is a precursor to her suitability as a partner for the prince. The transformation that occurs during Cinderella’s journey from “rags to riches” reinforces the notion that her domestic skills are an essential component of her worthiness for the prince. The enchantment that allows her to attend the royal ball underscores the idea that her innate goodness, symbolized by her dedication to housework, deserves to be rewarded with a life of privilege and prosperity. However, it’s important to approach this interpretation with a critical lens. The traditional Cinderella story reflects the societal norms of its time, which were characterized by rigid gender roles and expectations for women. Modern reinterpretations of the tale often seek to challenge and subvert these traditional tropes, presenting Cinderella as a more complex and independent character who transcends traditional gender stereotypes. Contemporary adaptations may reimagine Cinderella as a woman who seeks personal fulfillment beyond marriage, who pursues her dreams and aspirations, and who challenges societal expectations (Martin 331). By doing so, these adaptations encourage a more nuanced and empowering view of women’s roles, moving away from the notion that a woman’s worth is solely determined by her ability to conform to traditional domestic expectations.
Cinderella’s physical attractiveness indeed plays a dual role in the classic fairy tale, serving as both a source of mistreatment from her stepmother and stepsisters and a catalyst for her ultimate happiness through marriage to the prince. The narrative unfolds with Cinderella being subjected to cruelty by her stepfamily, driven, in part, by jealousy and a perception of her beauty as a threat. Cinderella’s stepmother and stepsisters, perhaps motivated by societal expectations and conventional beauty standards, react to her physical attractiveness with resentment and hostility. The theme of the degraded heroine winning over her abusing stepsisters is prominent in the story (Bettelheim 236). The mistreatment she endures, symbolized by her relegated status to a servant in her own home, suggests that her stepfamily perceives her beauty as a potential rival to their own social standing or desirability. The stepsisters’ envy, fueled by Cinderella’s perceived threat to their chances of securing the prince’s favor, adds a layer of complexity to the narrative. On the other hand, the prince’s choice to marry Cinderella is explicitly tied to her physical appearance. The classic fairy tale often emphasizes the enchanting qualities of Cinderella that captivate the prince at the royal ball. The iconic glass slipper, a symbol of her unique physical attributes, becomes the key to their reunion and eventual marriage. This aspect of the story reinforces conventional notions of love and attraction based on outward appearances, raising questions about the depth of the connection between Cinderella and the prince beyond the superficial.
In reimagined versions of the classic tale, Cinderella is portrayed as a resilient and resourceful protagonist who asserts her agency in the face of adversity. Instead of relying solely on the intervention of a fairy godmother or the prince’s pursuit, these narratives emphasize Cinderella’s own strengths, skills, and determination. One way Cinderella can choose her own destiny is by pursuing her dreams and aspirations beyond the confines of traditional gender roles. Rather than simply yearning for a magical transformation or a prince to rescue her, she may actively work towards her goals, whether they involve education, a career, or personal fulfillment. This shift challenges the notion that a woman’s destiny is exclusively tied to marriage and opens up new possibilities for Cinderella’s character. Additionally, Cinderella’s relationships with other characters can be redefined in modern retellings to highlight the importance of supportive friendships, mentorships, and alliances. By forming connections with individuals who appreciate her for more than just her appearance, Cinderella can build a network of allies who contribute to her journey of self-discovery and empowerment. Moreover, contemporary adaptations often explore the complexity of Cinderella’s character beyond the superficial. She may possess qualities such as intelligence, courage, and compassion that go beyond traditional notions of beauty. By showcasing these attributes, modern Cinderella narratives challenge stereotypes and encourage audiences to appreciate the multifaceted nature of women’s identities.
The traditional Cinderella narrative indeed reflects and upholds certain gender roles and stereotypes that were prevalent in the cultural and social context of its origins. Cinderella’s transformation from a mistreated servant to a princess reinforces the notion that a woman’s success and well-being are intrinsically tied to her ability to attract and marry a man. This narrative reinforces traditional gender roles by emphasizing women’s dependence on men for social mobility and economic security. The emphasis on her external appearance, particularly in the context of the royal ball and the prince’s search for the owner of the glass slipper, reinforces societal ideals that equate a woman’s attractiveness with her worth and desirability. This perpetuates the message that a woman’s appearance is a crucial factor in determining her happiness, particularly through marriage. It reinforces harmful beauty standards and contributes to the objectification of women. Cinderella is often portrayed as a passive character who endures mistreatment until external forces, such as a fairy godmother or a prince, intervene to change her circumstances. This portrayal suggests a lack of agency on Cinderella’s part to actively shape her own destiny. Her transformative journey is often catalyzed by external intervention rather than her own initiative or choices. This reinforces the stereotype that women lack the agency to take control of their lives and make decisions independently. While these traditional gender roles are inherent in the classic Cinderella story, it’s important to note that modern adaptations often seek to challenge and subvert these stereotypes. Contemporary retellings may present Cinderella as a more empowered and independent character, capable of determining her own destiny beyond the confines of societal expectations. These adaptations contribute to a broader cultural conversation about redefining gender roles and promoting narratives that empower women to pursue fulfillment on their own terms.

Works Cited

“Cinderella.” Grimm’s Household Fairy Tales, translated by Ella Boldey, with illustrations by R. André, New York: McLoughlin Bros., 1890, pp.

Bruce, Alexander M. “The Role of the ‘Princess’ in Walt Disney’s Animated Films: Reactions of College Students.” Studies in Popular Culture, vol. 30, no. 1, 2007, pp. 1–25. JSTOR, http://www.jstor.org/stable/23416195.

MARTIN, KARIN A., and EMILY KAZYAK. “HETERO-ROMANTIC LOVE AND HETEROSEXINESS IN CHILDREN’S G-RATED FILMS.” Gender and Society, vol. 23, no. 3, 2009, pp. 315–36. JSTOR, http://www.jstor.org/stable/20676783.

Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Vintage books edition. New York, Vintage Books, 19771976.

Anne Sexton’s haunting reimagining of the classic fairy tale “Sleeping Beauty” provides readers and literary critics alike plenty of room to attempt to interpret the poem in various ways. Some critics argue that Sexton’s inclusion of incest can be interpreted as a subversion of the traditional fairy tale narrative. By introducing such a dark and uncomfortable theme into a story that is often associated with innocence and purity, Sexton may be challenging the sanitized and oversimplified portrayals of women in classic fairy tales. Her work serves as a reminder that the world is not always a safe and magical place for women and that real-life horrors can penetrate even the most enchanting stories. Furthermore, one must consider the ethical and moral dimensions of addressing such a sensitive topic. Critics have discussed whether Sexton’s exploration of incest is a legitimate and necessary artistic endeavor or whether it crosses an ethical line by exploiting a deeply disturbing and traumatic experience. This raises important questions about the responsibility of artists and writers when tackling such delicate subjects.
Sexton’s use of incest might be seen as a sensationalistic and gratuitous choice, aiming to shock and disturb the reader rather than offering a profound exploration of trauma. This interpretation raises the question of whether Sexton’s depiction of incest serves to commodify trauma and sensationalize it for the sake of artistic impact. Anne Sexton’s “Briar Rose” is a complex and unsettling poem that tackles the theme of incest head-on. Literary critics have approached this theme from various angles, exploring its implications for understanding the protagonist’s trauma, its potential for sensationalism, its subversion of traditional narratives, and the ethical questions it raises. Sexton’s daring choice to address such a taboo subject forces readers to confront uncomfortable truths about the human experience and the stories we tell. The analysis of this poem reminds us of the power of literature to challenge societal norms, provoke thought, and engage in profound conversations about difficult and disturbing themes.

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Sexton’s choice to address incest in “Briar Rose” is nothing short of audacious. It serves as a vivid symbol of the protagonist’s psychological entrapment, as she is unable to escape the vicious cycle of abuse. This is a gut-wrenching, unflinching exploration of the devastating effects of trauma. By choosing such a disturbing theme, Sexton boldly confronts societal norms and the limitations placed on women, demanding that we recognize the horrifying realities that many individuals, especially women, have endured. In doing so, she forces readers to reconsider the sanitized and overly simplistic portrayals of women in classic fairy tales.
The poem also subverts the traditional fairy tale narrative by injecting this darkness into a story often associated with innocence and purity. Sexton challenges our preconceptions, reminding us that the world is not always a safe and magical place for women. She forces us to acknowledge that the nightmares of reality can pierce even the most enchanting stories, and that darkness and despair are never far from the surface.
However, it is essential to acknowledge that “Briar Rose” is not for everyone. Sexton’s graphic depiction of incest is indeed shocking and disturbing. Some may argue that the poem’s approach is sensationalistic and crosses an ethical line. It is understandable that readers might be uncomfortable with the explicit nature of the theme and concerned about whether such sensitive subject matter should be explored in such a manner. This discomfort is entirely valid, and the ethical questions surrounding this work are complex and deserving of thoughtful consideration.
Anne Sexton’s “Briar Rose” is a fearless and provocative poem that unapologetically confronts the reader with the horrors of trauma and the societal injustices faced by women. Sexton’s bold choice to address incest is a powerful way to challenge norms and demand that we engage with the difficult and disturbing truths of the human experience. However, it is essential for readers to approach this poem with caution, recognizing that its explicit nature can be deeply unsettling and that ethical questions about its handling of sensitive themes are valid. In the end, “Briar Rose” is a poem that pushes boundaries and sparks intense conversations, making it a compelling and thought-provoking work of literature.

The first piece of “literature” that I read was a novelization of Henrik Ibsen’s play, A Doll’s House, that I got in my school library. I must’ve been in the fourth grade and before then I only read books for children. I had always read above my grade level—I remember taking our yearly literacy tests and always being at a high school reading level even in elementary school—but A Doll’s House marked a turning point in my reading endeavors. I knew that I wasn’t grasping all that Ibsen had written, but even then I knew that it contained something special. I remember being enthralled by the language in the book; its words flowed like cool water down a mountain stream and made my heart race as I read it. (Years had passed in between the time I first read the book and finding out that Henrik Ibsen was a Norwegian playwright writing in Danish.) At that time in my life I don’t think I had the maturity to do a “higher level” of reading (i.e., recognizing themes and focusing on character development); I was reading purely for plot and pleasure, and even this was enough to captivate me and keep me wanting to read more. I think of that moment now, the pure joy that I had as my eyes raced on the page, and I remind myself that that is why I read; that, ultimately, is the reason I write—to try to recreate that same burst of joy that I felt (and still feel) reading today.

My teacher at the time, Mrs. Simmons, approached me one day when she saw the book laying on my side of the table. “What do you know about Henrik Ibsen?”

At the time, I didn’t know anything about him. I didn’t care too much about who wrote the book I was reading; in fact, the thought had never occurred to me that someone had to take the time to actually write what I was reading. I had this odd idea that books were mass produced by computers or some other kind of technology. The first time that I realized that books were written by actual people was ironically in that same year. A girl named Eleanor who was in my class was writing a novel in a composition book. Filled with her words and images of her own imagination, I went home that day and started writing a novel of my own—a Revolutionary War romance story, its two protagonists being an enslaved woman and a British soldier.

“I don’t know,” I said. “I picked it up because the cover looked cool.”
And that was the truth. It was an old-timey image of three rag dolls—two sitting side-by-side with each other, their backs against an old wooden dollhouse, and one standing in front of the two. They all wore dresses of plaid or stripes.

Upon reflecting, I would have fully expected her to give me an interminable lecture on Henrik Ibsen’s importance to 20th century literature and a list of reasons why we still read his work today. She didn’t. Instead she walked off with a small chuckle and went to tend to the other children. I can’t know for sure, but I’ve always gotten the feeling that there was more that she wanted to say. The unbelief of a little boy reading—on his own free will—one of the greatest and most influential pieces of modern literature had shown in her cadence and countenance.

Almost a decade later I am still the reader that I’ve always been. I read what I want without paying any mind to what anyone has to say. And because of this I have allowed myself to be taken in entirely new worlds by writers from here and abroad. William Faulkner has taken me to the deep South during the Antebellum Period; Virginia Woolf has taken me to affluent neighborhoods of interwar London. Reading, I’ve come to accept, is inextricably a part of who I am.

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