Tales of Her Own
A review of Emma Donoghue’s Kissing the Witch: Old Tales in New Skins (Joanna Cotler Books, 1997).
By Derek Newman-Stille
In Kissing the Witch, Emma Donoghue casts a web around traditional fairy tales, drawing them together into one narrative thread by having a character from each tale introduce the next tale as her own. Characters both narrate and are narrated about. These are tales about the telling and about the power of narration itself to reveal, conceal, and create the self.
Donoghue invites her characters to ask who is allowed to tell their tales and who is constructed through the telling of tales. Characters resist the narrative ark of “tradition”, imagining new possibilities for their own deviation from the text.
These are liberating fairy tales, opening up possibilities, and giving women voices in these tales where the traditional tales limited the options open to women. These are tales of shifts and changes, allowing women to chart new territories through the fairytale landscape, changing their circumstances. Often set at the cusp of womanhood, these tales explore the relationship between bodily and social transition.
Donoghue evokes the power of witches, those othered and ostracised women, for changing the world around them, opening critical questions, and encouraging women to recognise their power. She resists the impulse to tie her stories up with a heterosexual “happily ever after”, and instead imagines new narrative possibilities, creating lesbian couples, women content to be without sexual relationships.
Her tales reimagine Cinderella, Beauty and the Beast, Snow White, The Goose Girl, Rapunzel, The Snow Queen, Rumpelstiltskin, Hansel and Gretel, Donkeyskin, Sleeping Beauty, and The Little Mermaid. Donoghue illustrates that an intensive knowledge of folklore allows one to play with the tropes of the tradition, imagining new possibilities.
You can discover more about Emma Donoghue’s work at http://www.emmadonoghue.com