Jason Marc Harris's ambitious book argues that the tensions between folk metaphysics and Enlightenment values produce the literary fantastic. Demonstrating that a negotiation with folklore was central to the canon of British literature, he explicates the complicated rhetoric associated with folkloric fiction. His analysis includes a wide range of writers, including James Barrie, William Carleton, Charles Dickens, George Eliot, Sheridan Le Fanu, Neil Gunn, George MacDonald, William Sharp, Robert Louis Stevenson, and James Hogg. These authors, Harris suggests, used folklore to articulate profound cultural ambivalence towards issues of class, domesticity, education, gender, imperialism, nationalism, race, politics, religion, and metaphysics. Harris's analysis of the function of folk metaphysics in nineteenth- and early twentieth-century narratives reveals the ideological agendas of the appropriation of folklore and the artistic potential of superstition in both folkloric and literary contexts of the supernatural.

Jason Marc Harris's ambitious book argues that the tensions between folk metaphysics and Enlightenment values produce the literary fantastic. Demonstrating that a negotiation with folklore was central to the canon of British literature, he explicates the complicated rhetoric associated with folkloric fiction. His analysis includes a wide range of writers, including James Barrie, William Carleton, Charles Dickens, George Eliot, Sheridan Le Fanu, Neil Gunn, George MacDonald, William Sharp, Robert Louis Stevenson, and James Hogg. These authors, Harris suggests, used folklore to articulate profound cultural ambivalence towards issues of class, domesticity, education, gender, imperialism, nationalism, race, politics, religion, and metaphysics. Harris's analysis of the function of folk metaphysics in nineteenth- and early twentieth-century narratives reveals the ideological agendas of the appropriation of folklore and the artistic potential of superstition in both folkloric and literary contexts of the supernatural.

In his latest book, fairy tales expert Jack Zipes explores the question of why some fairy tales "work" and others don't, why the fairy tale is uniquely capable of getting under the skin of culture and staying there. Why, in other words, fairy tales "stick." Long an advocate of the fairy tale as a serious genre with wide social and cultural ramifications, Jack Zipes here makes his strongest case for the idea of the fairy tale not just as a collection of stories for children but a profoundly important genre. Why Fairy Tales Stick contains two chapters on the history and theory of the genre, followed by case studies of famous tales (including Cinderella, Snow White, and Bluebeard), followed by a summary chapter on the problematic nature of traditional storytelling in the twenty-first century.

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Jason Marc Harris weaves a tale of dark enchantment and vengeful obsession in this Supernatural Horror. "Jason Marc Harris's Master of Rods and Strings is a masterful work the likes of which I have not read in many years. In captivating and expert prose Master of Rods and Strings brings to life a world where the enchantment of puppetry inexorably descends into a magical perdition."-Thomas Ligotti Elias, tormented by visions of his sister's suffering and jealous of the adulation her puppetry skills command, is drawn into the shadowy world of occult puppetry. Under the tutelage of the enigmatic Uncle Pavan, Elias seeks to master this arcane craft, but the price of knowledge is steep, and the path to vengeance is fraught with unspeakable horrors. Set against the rich backdrop of France, Harris's novella is a masterclass in suspense and dark fantasy. Critics hail it as a "masterful work" that brings to life a world where the art of puppetry descends into magical damnation. With captivating and expert prose, this story pulls readers through a fever dream of loyalty, artistic passion, and the ultimate cost of revenge. Comparisons have been drawn to Patrick Suskind's Perfume for its vivid sensory detail and the portrayal of an obsessive protagonist. Master of Rods and Strings stands out for its "boundlessly unique and charmingly strange" narrative, ensnaring readers in its crackling compulsion. Joining the ranks of modern masters of weird fiction, Harris delivers a morbidly fascinating journey that begins as a quiet horror novella and crescendos into an apocalyptic climax. The novella is a chilling exploration of the transformation from innocence to a capacity for great evil, all in the name of retribution. At its core, Master of Rods and Strings is a classic revenge story, a testament to the mastery of a craft, and a cautionary tale of ambition's potential to corrupt the noblest of intentions. In just ninety-two pages, Harris crafts a world teeming with depth, where every scene is laden with both the tangible and the spectral. For those who find a thrill in the menace of the inhuman, from antique dolls to emotionless automatons, this dark fiction novella is a chilling new entry into the canon. Master of Rods and Strings is a novella to be devoured in one sitting, but its haunting essence will linger long after the final page is turned. Discover the dark allure of occult puppetry and the lengths one will go to for revenge in this unforgettable narrative. Proudly represented by Crystal Lake Publishing-Tales from the Darkest Depths.

Examines pantomime and theatricality in nineteenth-century histories of folklore and the fairy tale. In nineteenth-century Britain, the spectacular and highly profitable theatrical form known as "pantomime" was part of a shared cultural repertoire and a significant medium for the transmission of stories. Rowdy, comedic, and slightly risqué, pantomime productions were situated in dynamic relationship with various forms of print and material culture. Popular fairy-tale theater also informed the production and reception of folklore research in ways that are often overlooked. In Staging Fairyland: Folklore, Children's Entertainment, and Nineteenth-Century Pantomime, Jennifer Schacker reclaims the place of theatrical performance in this history, developing a model for the intermedial and cross-disciplinary study of narrative cultures. The case studies that punctuate each chapter move between the realms of print and performance, scholarship and popular culture. Schacker examines pantomime productions of such well-known tales as "Cinderella," "Little Red Riding Hood," and "Jack and the Beanstalk," as well as others whose popularity has waned—such as, "Daniel O'Rourke" and "The Yellow Dwarf." These productions resonate with traditions of impersonation, cross-dressing, literary imposture, masquerade, and the social practice of "fancy dress." Schacker also traces the complex histories of Mother Goose and Mother Bunch, who were often cast as the embodiments of both tale-telling and stage magic and who move through various genres of narrative and forms of print culture. These examinations push at the limits of prevailing approaches to the fairy tale across media. They also demonstrate the degree to which perspectives on the fairy tale as children's entertainment often obscure the complex histories and ideological underpinnings of specific tales. Mapping the histories of tales requires a fundamental reconfiguration of our thinking about early folklore study and about "fairy tales": their bearing on questions of genre and ideology but also their signifying possibilities—past, present, and future. Readers interested in folklore, fairy-tale studies, children's literature, and performance studies will embrace this informative monograph.