#folk godden

[quordleona03]

Classic Fantasy in English

250 years, 69 books, 48 writers

Gulliver's Travels - Jonathan Swift - 1726

Fairy Tales Told for Children - Hans Christian Andersen - 1835-1863 tr. Mrs. H. B. Paull 1867-1872

The Water-Babies - Charles Kingsley - 1863

Alice in Wonderland/Through The Looking Glass - Lewis Carroll - 1865/1871

Mopsa The Fairy - Jean Ingelow - 1869

At the Back of the North Wind, George MacDonald - 1871

The Princess and the Goblin/The Princess and Curdie - George MacDonald - 1872/1883

The Strange Case of Dr Jekyll and Mr Hyde - R. L. Stevenson - 1886

The Happy Prince and Other Stories - Oscar Wilde - 1888

News from Nowhere - William Morris - 1890

The Book of Dragons - E. Nesbit - 1901

The Just So Stories - Rudyard Kipling - 19021

Peter Pan - J. M. Barrie - 1902-1911

The Enchanted Castle - E. Nesbit - 1907

Puck of Pook's Hill/Rewards and Fairies - Rudyard Kipling - 1906/1910

Lud in the Mist - Hope Mirrlees - 1926

The Midnight Folk - John Masefield - 1927

Dr. Dolittle in the Moon - Hugh Lofting - 1928

Patapoufs et Filifers / Fattypuffs and Thinifers - André Maurois - 1930/tr. Rosemary Benet 1940

The 35th of May, or Conrad's Ride to the South Seas - Erich Kästner - 1931, tr. Cyrus Brooks 1934

Jirel of Joiry - C. L. Moore - 1934-1939

The Tale of the Land of Green Ginger - Noel Langley - 1937

My Friend Mr Leakey - J. B. S. Haldane - 1937

The Hobbit/The Lord of the Rings - J. R. R. Tolkien - 1937-1955

Le Petit Prince / The Little Prince - Antoine de Saint-Exupéry 1943 tr Katherine Woods

The Wind on the Moon - Eric Linklater - 1944

Mistress Masham's Repose - T.H. White - 1946

The Little White Horse - Elizabeth Goudge - 1946

Trollkarlens Hatt / Finn Family Moomintroll - Tove Jansson - 1948 tr. Elizabeth Portch 1950

Nineteen Eighty-Four - George Orwell - 1949

Seven Days in New Crete - Robert Graves - 1949

The Borrowers / Afield / Afloat / Aloft / Avenged - Mary Norton - 1952/1955/1959/1961/1982

All You've Ever Wanted / More Than You Bargained For - Joan Aiken - 1953/1955

To the Chapel Perilous - Naomi Mitchison - 1955

Tom's Midnight Garden - Philippa Pearce - 1958

The Lion, the Witch, and the Wardrobe - C. S. Lewis - 1950

The 13 Clocks - James Thurber - 1950

Round the Bend - Neville Shute - 1951

The Armourer's House - Rosemary Sutcliff - 1951

The Once and Future King - T. H. White - 1938-1958

Candy Floss / Impunity Jane / Miss Happiness and Miss Flower - Rumer Godden 1954 / 1960 / 1961

Sword at Sunset - Rosemary Sutcliff - 1963

Book of Heroes - William Mayne - 1966

Tree and Leaf\Smith of Wootton Major - J. R. R. Tolkien - 1945-1967

The Crystal Cave / The Hollow Hills / The Last Enchantment / The Wicked Day - Mary Stewart 1970-1983

Dragonflight - Anne McCaffrey - 1968

A Wizard of Earthsea / The Tombs of Atuan / The Farthest Shore - Ursula K. Le Guin - 1968/1971/1972

Red Moon and Black Mountain - Joy Chant - 1970

Tom Ass or The Second Gift - Ann Lawrence - 1972

The Dark Is Rising/Greenwitch/The Grey King - Susan Cooper - 1973 / 1974 / 1975

[independentartistbuzz]

Alt folk/pop artist Kalila Badali confronts pain and loss on “Potato” from New 'Panacea' EP

Kalila Badali is an alternative folk/pop artist and registered psychotherapist based in Toronto, Canada. Kalila’s music invites her audience into an ethereal, yet groovy space with an intricate guitar picking style and vocal loops to explore the intersecting themes of mental illness, ecology, and feminism. 

Her song “Potato” deals with questions and anxieties around dying and spending time with loved ones before they die, but also wanting to hide and avoid the pain that comes with confronting loss. 

While the song name seems a bit silly at first, this upbeat banger is actually quite devastatingly sad. It’s a comfort food for Kalila, but also a bit of a symbol of pain and loss. It’s actually quite personal to her relationship with her family. 

“Potato” and four other songs including “Dotty Mae” and “No Eye Contact” are from her new EP, Panacea, produced by James Atin-Godden. For Kalila, the EP came together thematically by accident. She wanted to make something that captures the experience of being stuck and not knowing what to do to change circumstances and getting lost in the number of options that can “help.” 

[wolverinesorcery]

Bucca and Their incredible Pantomime Dame energy

[all-my-novels]

warriors folks who have or like fanclans

i’m finally working on my fanclans from a million years ago but i need some help.

i’m basically starting with the basics bc i forgot most of what i made 8) so here’s the basics:

the cats are polytheistic and worship multiple gods alongside starclan. each clan has their own patron god/goddess/godden and there are five clans. there are also some lesser gods who are also worshipped.

ceremonies are like, actual ceremonies, not just speeches

lgbt+ cats are accepted and often times celebrated

the setting is a fictional mix of several different biomes, mainly featuring a desert, forest, mountain range, and rocky seashore. this is a huge territory, so these aren’t all squished together.

a little more realism with colors and whatnot

additional ranks

and much more...

so if you’re interested in helping me out with that. please click on this link. if ur a warriors fan in general ur welcome to come and check it out https://discord.gg/SGzZjMs

[mjbookreviews]

Horse, Flower, Bird by Kate Bernheimer

Book Number 3: A collection of modern day “fairy tales”

I love fairy tales.  I love Disney fairy tales and Brothers Grimm fairy tales and fractured fairy tales and fairy tales turned into novels.  I grew up with them and I just love them.  So I’m a fan of Kate Bernheimer’s work: she both takes from old, strange fairy tales and she creates her own.  Often, she combines the two.  And they are probably unlike any fairy tales you’ve read before—bizarre, frightening, humorous, and puzzling.

There are eight total fairy tales here, and the book is a very quick read.  I’m pretty sure I got through it in a couple hours.  Generally each page has no more than a couple sentences, so you move quickly from page to page.  It kind of reminded me of a children’s book sans illustrations, except the stories Bernheimer tells are not exactly something you would read to your children.  Strangeness abounds and there is never a clear moral to take away. In fact, for many of them, I wasn’t sure what I took away.  A feeling?  A sorrow?  Certainly none of Bernheimer’s stories leaves you in a peaceful, cheerful mood.  And I suppose that’s kind of the point.  These fairy tales are not meant to teach children to obey their parents or to warn against messing with magic.  These are tales for a society that have cast off fairy tales as child’s play: unimportant, empty, and not worth serious thought.  Bernheimer is here to change that.

Since there are only eight short stories, I might as well touch on all of them just a bit.  (The collection actually starts with a passage from Rumer Godden’s The Doll’s House.  I’ve never read any Godden before, but I did find that the passage set the tone well for the collection.)  First up was “A Day of Atonement,” about a young Jewish girl who likes atoning.  There were several characters throughout the stories who were Jewish, and I’m not sure why Bernheimer drops this detail multiple times (personal connection? drawing from their rich culture?), but it was interesting to think about the history of the Jewish people while immersed in the genre of the fairy tale.  Anyway, the girl’s tendency toward atonement is also characteristic of the figures that litter Bernheimer’s stories; they have a defining characteristic that sets them apart, that makes them strange and magical to watch.

Next up was “A Tulip’s Tale.”  I loved the ending of this one; very haunting. It’s another strange one about an ugly bulb that gets pulled from the ground by a girl.  Another thing I like about Bernheimer’s work: it mostly focuses on girls, but not in your stereotypical (sorry but *cough* Disney *cough*) princess/damsel-in-distress fairy tale way. These girls are allowed to be human in the fullest sense possible, to have relationships with their families and friends and lovers and to have every odd thought and habit that real women have.

Then came two very short stories, “A Doll’s Tale” and “A Petting Zoo Tale.”  I thought that “A Doll’s Tale,” the story of a girl who becomes too attached to a doll, began and ended brilliantly.  “A Petting Zoo Tale” began in an interesting manner with its direct address to the reader.  The story then details the hobby of a woman who collects animals in her house without her husband’s knowledge to create her own personal petting zoo.  I found this sort of disconnect between humans in the stories to be a theme throughout.  There is something that isolates these characters and makes it difficult for them to connect with others, and with that, the stories often feel lonely.

Then “A Cageling Tale.”  This is an intriguing tale about a girl and her parakeet and her eventual career as a topless dancer in a cage at a club.  Again, isolating, haunting, and not really for children.

“A Garibaldi Tale” was the most poetic in my opinion.  The mantra “Garibaldi, Garibaldi” is repeated multiple times, lending a rhythm to the tale and separating it from the others.  Garibaldi is an incantation, a wish, a prayer.  It is a place but it is also a fish.  It is, as I keep repeating myself, utterly strange.

Then the most modern tale: “A Star Wars Tale.”  The fact that Bernheimer can incorporate Star Wars into a fairy tale speaks volumes to her talent.

And finally there is “Whitework,” which felt to me the most like a “traditional” fairy tale.  Yet nothing that happens in the story reads as traditional.  This story also seemed to me to tie the rest of the collection together, a great way to end everything.  A character at the end claims that the narrator must “eliminate every gloomy idea.”  To do this, the character points to a room, saying, “You have the key to the Library […] Only be careful what you read.”  Again, I feel like today, with our insistence that fairy tales are for children, we are expected to thus “eliminate every gloomy idea” so as to protect children.  But Bernheimer seems to say that this is not what fairy tales are, and this is not what they ever have been.  Fairy tales are twisted and full of dark things: indeed, maybe we do need to be careful what we read with them.

Bernheimer’s style is superb in creating the whole fairy tale vibe, generally through short simple sentences, direct addresses to the reader, and bold, straightforward description.  The style often reminded me of some Inuit folk tales I had to read for a class last year, the simple description and direct action giving everything a timeless feel.  And sometimes this leads me to think, if only we would start reading little girls fairy tales like Bernehimer’s instead of Sleeping Beauty.  Perhaps girls would grow up seeing the beauty in their own wild wanderings instead. 

DISCLAIMER: It’s been a while since I’ve read these stories, so I hope that this was somewhat coherent.  I feel like I’m doing the collection a bit of a disservice by not completely re-reading them for this review, but alas.  Life is happening, and I’m trying to pack for a trip in between writing sentences.

[independentartistbuzz]

Kalila Badali Delights with "Dotty Mae"

Kalila Badali is an alt-folk/art-pop singer-songwriter and psychotherapist based in Toronto. Aside from her solo project, Kalila is a lead vocalist and songwriter of the indie band, Shy By Shy. Music represents an ongoing avenue for Kalila to express her understanding of the world as a neurodivergent person. 

Kalila wrote “Dotty Mae” after spending a whole summer working seven days a week as a new psychotherapist and an inclusion specialist at a summer camp in Toronto. To conclude this busy summer she celebrated with a little too much weed and her beloved co-workers at a cottage near Presqu'ile beach in Prince Edward County. It was there that she met Dotty Mae and had her tarot read for the first time sitting cross-legged at the edge of a forest.

Kalila first pitched Dotty Mae to her band Shy By Shy and played the song repeatedly in the early days of this project. Eventually, she opted to bring this song in a folkier, witchier direction and decided to begin recording it with her long-time friend and producer James Atin-Godden. Together they used auxiliary percussion to emphasize/allow for more dynamic space for Kalila’s unique acoustic guitar style of fingerpicking. 

Hear “Dotty Mae” here:

 https://soundcloud.com/kalila-badali-1/dotty-mae

https://linktr.ee/kalilabadalimusic

Planning for the music video took place over the better part of 2022 and was eventually filmed at Wasaga Beach. To capture the right feel, Kalila wanted to feature dance at the center of the video. She had no previous experience with dance, so she worked with choreographer Bryony McCaughey for many months before the shoot and articulated a frame for the type of dance – “structured improv” and moving tableaus. 

Watch + share the surreal video for “Dotty Mae” here:

https://www.youtube.com/watch?v=pfw3-IPIOHk

The music video narrative plays with similar themes to the song “Dotty Mae” – more specifically about inflated traumatic responses to relationships. It's about protection, chronic doubt, hiding in plain sight, and reaching for solace in anything and everything that could offer an answer, education, therapists, drugs, and even tarot readers like Dotty Mae.