As I prepare to visit Wayne State next week, I am forced to go through my library books and remove tabs and/or take notes before I return the books to the library. I find myself reluctant to do so, probably because I’ve had these books in my possession for the last three semesters and so they now feel like my own. Plus, they’re simply amazing reads.
I begin, however, with three texts by Sandra L. Beckett: Red Riding Hood For All Ages: A Fairy-Tale Icon in Cross-Cultural Contexts, Recycling Red Riding Hood, and Revisioning Red Riding Hood around the World: An Anthology of International Retellings. I used these three texts extensively in my chapter on George Egerton’s adaptations of LRRH, and I also noted a number of texts discussed by Beckett that appeared to be of particular interest. Rather than make a list of these texts on a notecard (and therefore risk losing the list), I’ve decided to create that list as a blog post so that I can reference it always. So here we go!
- Carmen Martin Gaite’s “Little Red Riding Hood in Central Park (Caperucita en Central Park)” (p. 81-90) [I am familiar with Gaite’s work from a women’s literature course I took while studying abroad in Madrid, and I am very interested to see how she revises LRRH.]
- Anne Bertier’s “My Wolf (Mon Loup)” (p. 91-94)
- Warja Lavater’s Le Petit Chaperon Rouge: une imagerie d’après un conte de Perrault (discussed p. 55-65) [Held at U of MN: TC Andersen Library Children’s Lit (Small book box 78 )]
- Gianni Rodari’s “The Cards of Propp” from Grammar of Fantasy, Le tarot des mille et un contes, and Kevin Scally’s The Story of Red Riding Hood (discussed p. 101-105) [These first four texts all encourage the “reader” to become the storyteller as they use symbols and cards to rearrange the tale of LRRH. I think they could prove useful in the classroom when teaching the genre assignment for fairy tales, where students are asked to create their own original fairy tale and then explain how it meets the generic requirements of a fairy tale. Most students enthusiastically embraced the assignment, but one or two struggled to develop an original tale, and these texts/cards may help them do so without too much stress. Scally’s text is a “you’re-the-hero” book, which I believe means a “choose-your-own-adventure” book, so that could be fun to teach as well, as it would disrupt student-conceptions of authorship as the plot then becomes under their own control.]
- Francesca Lia Block’s The Rose and the Beast (p. 300)
- Priscilla Galloway’s Truly Grim Tales (p. 300) [These are two recent (published in 2000 and 1995, respectively) fairy-tale collections for young adults.]
- Gillian Cross’s Wolf (discussed p. 300-308]
- Carmen Martin Gaite’s “Little Red Riding Hood in Central Park (Caperucita en Central Park)” is analyzed extensively (p. 308-330)
- Anne Sharpe’s “Not So Little Red Riding Hood” in Rapunzel’s Revenge: Fairytales for Feminists (p.41)
- Darkstalkers and Red (p. 206) [These are two video games featuring a LRRH character.]
- Shelley Duvall’s Faerie Tale Theatre has a LRRH episode (p. 207)
- David Kaplan’s Little Red Riding Hood (p. 207) [This is a short film featuring Christina Ricci.]
“The story of Little Red Riding Hood has been recycled for all ages to discuss initiation, independence, rebellion, family relationships, parental authority, seniors, political correctness, gender, puberty, sexuality, rape, child abuse, love, hate, heroism, cruelty, criminality, murder, death, rebirth, alcoholism, gluttony, cannibalism, materialism, industrialization, urbanization, technology, pollution, ecology, revolution, and war. The famous tale’s versatility is truly remarkable.” (p. 205)