I’d never been much for Tweets until I read Neil Gaiman’s words about Maurice Sendak: “He was unique, grumpy, brilliant, gay, wise, magical and made the world better by creating art in it.”  That’s poetry, and it captured Maurice Sendak, bringing a smile to our faces on the day that we felt we had lost the author of Where the Wild Things Are.

Neil Gaiman’s latest project is to use Twitter and social media to create A Calendar of Tales (by Neil Gaiman and you), with twelve stories inspired by tweets and illustrated by artist-collaborators who submitted their work electronically.  You can see the results at the link above and listen to Neil read these stories and make them come alive.

I love the name Keep Moving, because it captures exactly what Neil Gaiman does.  Like no other writer, he keeps reinventing himself and changing, reaching out to collaborate and to connect with his many fans.  How many writers are fans of their fans and are willing to demystify the creative process in ways that invite others to join in and become part of a team of rivals.

 http://keepmoving.blackberry.com/desktop…

Here’s a quick summary of the virtues and flaws of Disney Princesses.  It shows real progress in moving from sweet docility to adventurous feistiness.  Is it time to make a new version of Snow White, now that we are approaching her 100th anniversary?  Well, still a few years to go, but she is already in her 70s.

 http://news.moviefone.com/2013/05/28/dis…

nbsp;http://www.nytimes.com/2013/05/19/books/…

nbsp;http://www.youtube.com/watch?v=Y-ir6JhV2…

Once Upon a Time in Wonderland: The buzzed-about Once Upon a Time spinoff centers on Alice, played by newcomer Sophie Lowe, the Knave of Hearts (Michael Socha) and Alice’s love interest Cyrus (Peter Gadiot). Oh, and John Lithgow voices the White Rabbit! The anthology series hails from OUAT creators Eddy Kitsis, Adam Horowitz and Jane Espenson. The series will air Thursdays at 8 p.m.

Fighting pirates and swimming with mermaids?  Shades of Peter Pan, and maybe the genie is the boy who would not grow up, thereby uniting Peter and Alice  at long last.

watch?feature=player_detailpage&v=Y-ir6JhV2Zs

Giving a nice twist to F. Scott Fitzgerald’s novel This Side of Paradise, the Pearl Theater in NYC brings two short plays by J.M.  Barrie–Rosalind and The Twelve-Pound Look–under the umbrella title This Side of Neverland.  Unlike Peter Pan, most of Barrie’s other plays have not fared well, in part because they feel like period pieces, with their depiction of Edwardian manners and mores, courtship rituals and marital discord.  But now we have what appears to be a successful revival of two of the works.

Here’s Catherine Rampell’s review from the New York Times

These two droll delicacies involve resourceful women with surprise identities. And both tuck proto-feminist messages into gently barbed social commentary — about aristocratic fat cats, class anxiety and the entertainment industry — that still holds uncomfortably true today.

Pristinely directed by J. R. Sullivan, both plays seem so good-natured that you hardly notice you yourself might be the object of dissection. Preshow and entr’acte piano-playing of period tunes like “Let Me Call You Sweetheart,” whose misty-eyed lyrics are found inside the program, allow audience members to sing along. Don’t let the musical nostalgia and starchy dressing gowns fool you, though; as Mr. Sullivan makes clear, Barrie’s words are disturbingly current.

HANS DE BEER “Little Polar Bear”

TOMIE DE PAOLA “The Knight and the Dragon”

JULES FEIFFER “Bark, George”

JULES FEIFFER “I Lost My Bear”

NEIL GAIMAN AND DAVE MCKEAN “The Wolves in the Walls”

ARTHUR GEISERT “The Giant Ball of String”

STEVE GOODMAN AND MICHAEL MCCURDY “The Train They Call the City of New Orleans”

RUSSELL HOBAN AND LILLIAN HOBAN “Bread and Jam for Frances”

MUNRO LEAF AND ROBERT LAWSON “The Story of Ferdinand”

ASTRID LINDGREN AND HARALD WIBERG “The Tomten and the Fox”

PEGGY RATHMANN “The Day the Babies Crawled Away”

COLEEN SALLEY AND JANET STEVENS “Epossumondas”

MAURICE SENDAK “In the Night Kitchen”

MARK ALAN STAMATY “Who Needs Donuts?”

SANDRA STEEN, SUSAN STEEN AND G. BRIAN KARAS “Car Wash”

Soman Chainani’s School for Good and Evil comes out next month.  

Here’s what I wrote after reading the manuscript last January:

“It is not often that someone comes along who can reinvent fairy tales and reclaim their magic in ways that are truly for children. Soman Chainani takes the racing energy of Roald Dahl’s language and combines it with the existential intensity of J.K. Rowling’s plots to create his own universe, inhabited by characters we grow to love. THE SCHOOL FOR GOOD AND EVIL uses the sorcery of words and the poetry of friendship to startle, enchant, and keep us turning its pages.”

And for more on the volume and the author’s career:

 http://harvardmagazine.com/2013/05/princ…

The first of a trilogy for middle-grade readers (ages nine and up), The School for Good and Evil tracks two archetypal heroines: the lovely Sophie, with her waist-long blond hair and her dreams of becoming a princess, and her friend Agatha, an unattractive, unpopular contrarian who chooses to wear black. A giant bird snatches the pair and carries them off to the School for Good and Evil, a two-pronged magical academy that trains children to become fairy-tale heroes and villains. When, to her horror, Sophie arrives at the Evil branch to learn “uglification,” death curses, and other dark arts, while Agatha finds herself at the School for Good amid handsome princes and fair maidens, the line between good and evil blurs, the meaning of beauty twists, and the girls reveal their true natures.

Beginning June 10, on what would have been Sendak’s 85th birthday, that collection will go on display at the Society of Illustrators in New York. The exhibit, containing more than 200 previously unpublished studies, sketches, and ephemera, will run through August 17. Every piece is from Schiller’s collection.

http://www.publishersweekly.com/pw/by-topic/childrens/childrens-book-news/article/56500-unseen-sendak-on-display-art-photography-books-2013.html 

Why can’t Hollywood get it right when it comes to fairy tales?  Films that allude to fairy tales or have fairy-tale subtexts are often more powerful than straight adaptations from source material.  Guillermo del Toro’s Pan’s Labyrinth is one example, but there are many others ranging from Pil Sung-Yim’s Hansel and Gretel to Christoph Hochhaeusler’s Milchwald.  Take a look at Jack Zipes’s Enchanted Screen for hundreds of great examples of fairy-tale films.

Sometimes it’s easier to do the lazy thing and just adapt from public domain material.  As Charlie Jane Anders writes:

Fairytales don’t have a lesson at the end, unlike fables — but here’s a lesson anyway: Hansel and Gretel were a public-domain piece of intellectual property, with name recognition and a connection to the hot fairy-tale brand. They were, in other words, already fattened up. Also, these two versions of Hansel represent two obvious ways of tackling the material in a way that appeals to a PG-13 audience: campy send-up, or slack-jawed action.

And here’s Ethan Gilsdorf on Hollywood’s fairy-tale obsession:

After nearly a century of fairy-tale films targeted in large part at kids — starting with Walt Disney’s 1937Snow White and the Seven Dwarfs — there’s another, edgier treatment on the rise. Last year, moviegoers saw two versions of the Grimm Brothers’ Snow White story in Mirror Mirror with Julia Roberts and Snow White and the Huntsman with Kristen Stewart. Next year, Angelina Jolie will star as Sleeping Beauty’s nemesis in Malificent, and Disney is looking to release a live-action version of Cinderella directed by Kenneth Branagh. We’ve recently seen movies like Hansel & Gretel: Witch Hunters and Jack the Giant Slayer in theaters and Grimm and Once Upon a Time on TV. The list goes on and on. What accounts for this boom in adult-sized fairy tales?

Part of the answer is that the stories and themes of the Grimms and Hans Christian Andersen never really left cineplexes — they’ve just been in better disguises. Working Girl, Pretty Woman, and Maid in Manhattanall borrowed heavily from the rags-to-riches Cinderella story. Snow White, so concerned with beauty and aging and jealousy, can be seen in countless mother/daughter rivalry plots. “We use bits and pieces of fairy tales all the time to fashion new stories, but often in ways so subtle that they escape our attention,” says Maria Tatar, chairwoman of the Program in Folklore & Mythology at Harvard University. Even Quentin Tarantino’s bloody Django Unchained, Tatar points out, draws from the Sleeping Beauty tale.

More at:

 http://www.bostonglobe.com/magazine/2013…