Early Childhood Education Journal, Vol. 24, No.

1, 1996
Books for Children
Once Upon A Time: Fables, Folktales, and Fairy Tales
P a u l i n e Da v e y Ze e c e , D e p a r t me n t Ed i t o r
I NT RODUCT I ON
We all have stories to tell: stories of our culture, of
our families, and of ourselves. This is a special part of
what makes us human; it is a cumulative record of our
history. Toml i nson and Lynch- Br own (1996) suggest
that ancient stories and poems (identified as traditional
literature) have grown out of a quest to understand and
negot i at e the natural and spiritual worlds. Beari ng a
striking similarity across cultures, these stories have
been preserved through the oral tradition of storytelling
before eventually being written down. Although tradi-
tional literature takes several forms, its storytelling ori-
gins typically provide many identifiable features: char-
acters with singular qualities; concentrated action; vague
settings; rhythmic and melodic language; stock begin-
nings and endings; and themes that reflect good versus
evil, the value of perseverance, and explanations for the
ways of the world (Tomlinson & Lynch-Brown, 1996).
Fables, folktales, and fairy tales form a significant
portion of the traditional literature used with children.
These stories provide a powerful vehicle for sharing and
developing an ever-evolving human folklore by helping
children connect with the past in the context of the pre-
sent. Through "ol d" stories and their many variations
and versions, young readers and listeners are exposed to
a rich literary and cultural heritage.
Recently published tales keep the genre alive with
contemporary language and compelling illustrations and
themes (Sawyer & Comer, 1996). Traditional literature
encourages children to think deeply about issues in their
lives, fosters critical thinking and writing in collabora-
tive learning environments, promotes access to personal
imagination and creativity, and contributes to the devel-
opment of deeper multicultural awareness (King, 1993).
F A B L E S
Fabl es are stories that are handed down from gen-
eration to generation and used to teach explicit social
values, morals, or universal truths. These stories were
the first traditional literature put into print when William
Caxton in England published Ae s op' s Fabl es in 1484
(King, 1993; Tomlinson & Lynch-Brown, 1996). Today,
contemporary fables are appreciated for themselves and
are used for literary enjoyment. Although young chil-
dren may lack the language and abstract thought to state
the implications of a fable' s moral, they are often times
attracted to the simple plot and the animals or actions
characteristically found in such tales (Sawyer & Comer,
1996; Raines & Isbell, 1994). Adults who enjoy sharing
fables with young readers are most successful when they
do not expect children to understand the satire or gener-
alize the moral, but only to share in the sheer delight of
a good story and its illustrations. And once in a rare
while, there will be precocious or more mature children
who actually do understand the fable' s mission and mes-
sage. For these readers, the fable offers the opportunity
for sharing in a special way with an adult and the satis-
faction of understanding at a deeper level within them-
selves.
Aesop's F ables. Heidi Holder, illustrator. New York:
Puffin Books, 1993. 25 pp., $4.99. Ages 3 to 8 years.
Illustrator Hei di Hol der' s exquisitely ornate bor-
ders and detailed illustrations of India ink and watercol-
or provi de a feast for the visual senses and a perfect
count er poi nt to ni ne si mpl e fables cont ai ned in this
book. Children enjoy the short, uncomplicated stories.
Illustrations within the illustrations create opportunities
for a wide variety of discussions.
Each fable provides a chance for a quick, fable-fix
or a long think about some of Aesop' s messages:
9 It i spossi bl e to have too much o f a good thing.
9 A si mpl e life in peace and saf et y is pref erabl e to a
life o f luxury t ort ured by fear.
9 Often good times may be drawn out o f evil, and
even our worst enemy may i nadvert ent l y hel p us.
37
1082-3301196/0900-0037509.50/0 9 1996 Huma n Sci ences Press, Inc.
38 Zeece
Yolen, Jane. Karen Barbour, illustrator. A Sip of
Aesop. San Franci sco: Si erra Cl ub Books for
Children, 1995. 29 pp., $14.95. Ages 2 to 8 years.
Upbeat , cont empor ar y, and humor ous Aesop!
Children delight at the catchy cadence and the comical
illustrations that depict the 13 fables in this collection.
For the hare and the tortoise:
If naps and laps
You do confuse,
Then you are surely
Bound to lose.
For the frog and the ox:
You may never be
As big as you think.
Some need a shrinking,
And some need a shrink.
Older children enjoy the inside jokes and the play
on words and ideas. A sure-fire hit for readers of all
ages.
Heins, Ethel. Anita Lobel, illustrator. The Cat and the
Cook and Other Fables of Krylov. New York:
Greenwillow Books, 1995. 32 pp, $15.00. Ages 3 to 8
years.
Why didn' t the cook learn that words are wasted
when it' s time for action? And how does the mole know
best of all whether or not the roots of a tree are healthy
and strong? Many Russian children know the answer to
such questions because for generations these have been
cont ai ned in the fables of Krylov. Ethel Heins now
retells 12 typical and cherished tales for American chil-
dren to relish in The Cat and the Cook. Anita Lobel adds
a special flavor to the renditions with lavishly detailed
illustrations that are inspired by Russian church paint-
ings and peasant art. Author' s notes and sources at the
end of the book provide additional material for helping
children understand and appreciate the rich historical
and literary heritage surrounding these fables.
FOLKTALES
Folktales have deep roots in oral storytelling. Over
the generations, simple stories nested in the culture of
the common peopl e served to teach, entertain, and
explain the world to the next generation (Sawyer &
Comer, 1996). Told and retold over the centuries, folk-
tales were first put into print by Charles Perrault in
France in 1697 (Histories or Tales of Long Ago with
Morals: Tales of Mother Goose, Raines & Isbell, 1994).
These stories continue to be cherished across and within
cultures and enjoyed as children' s favorite type of tradi-
tional literature (Tomlinson & Lynch-Brown, 1996).
Raines and Isbell (1994) suggest that preference for cer-
tain kinds of folktales change with development. The
youngest reader or listener responds enthusiastically to
the si mpl e rhymes and rhyt hms of Mot her Goose.
Preschoolers and kindergartners typically enjoy chained
and cumulative tales that link each part of a story line
together. They also prefer stories with talking animals,
Fables, Folktales, and Fairy Tales 39
wonder tales, and transformations. Primary-aged chil-
dren relished pourquoi or why stories, trickster tales,
and humorous yams. Beginning readers gravitate toward
books that tell tale tales or create legendary figures.
Chorao, Kay. Mother Goose Magic. New York:
Dutton Children's Books, 1994. 64 pp., $15.99. Ages
2 to 8 years.
As Mother Goose introduces the first page and then
leads the way through the book, even the tiniest reader
will be captivated by Kay Chorao's eight glowing, flow-
ing, and lovingly illustrated nursery rhymes. Older read-
ers will enjoy using the visual cues to anticipate and
chain the rhymes together. Donkey, donkey, old and
grey transforms into a laughing, dancing, smiling lad
who flies on Mother Goose's back into a cloud of flying
pigs (dickory, dickory dare)! Each rhyme ends with a
humorous transition into the next verse. At the book' s
end:
The moon shines bright,
The stars give light.
And little Nanny Button Cap
Will come tomorrow night.
GOOD NIGHT.
An invaluable resource for establishing sleep time
routines while introducing children to the exciting world
of traditional literature.
Polacco, Patricia. Babushka's Mother Goose. New
York: Philomel Books, 1995. 64 pp., $17.95. Ages 3 to
8 years.
Babuska is back! And this time as Mother Goose.
In typical Polacco splendor (Rechenka's Eggs, Chicken
Sunday, Babuska Baba Yaga, Thundercake), a mixture of
original nursery tales and rhymes and old favorites are
found in one of the most unusual and delightful contem-
porary Mother Goose collections.
Three Babushkas lived in their bed.
One wore purple,
one wore red.
One wore ribbons and stripes and bows.
All of them lay there
and counted their toes.
With vibrant and humorously detailed illustrations
to complement the folklore of her Russian heritage,
Polacco portrays Mother Goose and storytelling at its
finest.
Van Laan, Nancy. Lisa Desimini, illustrator. I n a
Circle Long Ago: A Treasury of Native Lore from
North America. New York: Apple Soup Books, 1995.
128 pp., $20.00. Ages 3 and up.
Selected and retold especially for young readers,
25 stories, songs, and poems representing a wide variety
of tribal traditions and eight distinct North American
regions are presented in In a Circle Long Ago. Using
many techniques and materials, each tale is creatively
supported by dynamic and spirited illustrations that
reflect a specific mood and message. Whether reading
how the fox fools eagle, how the raven makes the river,
or how war on the earth first began (Coyote and the
Blackbirds), the opportunity for connection with other
people and other times is equal l y compelling. An
instructive introduction, appendix, source notes, pronun-
ciation guide, and map provide additional understanding
and insight into the history and culture of the North
40 Zeece
American native people represented throughout the
book.
Hamilton, Virginia. Leo and Diane Dillon, illustra-
tors. Her Stories: African American Folktales, Fairy
Tales, and True Tales. New York: Blue Sky Press,
1995. 112 pp., $19.95. Ages 6 and up.
As a creation of the recent past or the present by a
known author, Her Stories might technically be consid-
er ed a col l ect i on of modern or literary f ol kt al es
(Tomlinson & Lynch-Brown, 1996). Closer inspection
reveals that the internationally renowned and award-
winning storyteller Dorothy Hamilton has brought a
wide range of stories from a vast storehouse of tradition-
al Black folklore. Throughout the animal tales, fairy
tales, supernatural tales, folkways and legends, and true
tales, award-winning illustrators Leo and Diane Dillon
use rich and intense acrylic illustrations to confirm and
convey the power of the women depicted in the book. In
the introduction, the author explains:
Many types of women are portrayed in Her Stories.
They are various ages and have human shortcomings as
well as strengths. They are hard and bright; cold, rough,
fearful, mean, and stubborn; fiery, strong, witty, and
kind. Her Stories also includes true stories about real
African-American women who we know actually lived.
(p.xii)
Author comments following each selection, final
notes, and useful sources at the end of the book com-
plete this treasury.
FAIRY TALES
Fairy tales, also known as wonder or magic tales,
are folk stories found in many cultures. These stories
contain elements of magic or enchantment in characters,
plots, or settings. Enchanted places, magic objects, and
distant times are often paired with single-focused plots
and stereotypical characters from distant lands (Raines
& Isbell, 1994; Tomlinson & Lynch-Brown, 1996).
Fairy tales are usually more polished and involved than
folktales or legends. They also differ from folktales in
that they originated first in written rather than oral form
through the works of such authors as Hans Christian
Andersen and Jakob and Wilhelm Grimm. These collec-
tions provide much of the basis for the fairy tales found
in western culture (Raines & Isbell, 1994).
The content and appropriateness of the use of fairy
tales for children has been the topic of professional dis-
cussions for many years. Concern has been raised about
the violence or frightening nature of story lines, the
bloody and graphic ways in which justice is sometimes
served, and the st ereot ypes portrayed. Sawyer and
Comer (1996) acknowledge that these are valid con-
cerns. They further contend that fairy tales may actually
mirror a child's experience: childhood is full of mon-
sters and unknown fears. As such, fairy tales used
appropriately may help children to feel reassured that
their own internal conflicts and fears will be settled or
resolved in positive ways.
Fairy tales and all folk stories are part of our col-
lective history. This does not mean they should be
shared without a healthy dose of caution and care. The
decision to use or not use fairy tales with children
involves the same criteria that should be applied to the
selection of all folktales and all literature: What are my
goals for sharing this book or story? What will it teach?
How does this meet the developmental needs of this
child or group of children? What evidence do I have that
this material will be useful (or not useful) at a particular
time? In a particular setting? How do I personally and
professionally feel about this story?
Penney, Ian. lan Penney's Book of Fairy Tales. New
York: Harry N. Abrams, 1995. 48 pp., $14.95. Ages 3
and up.
Ian Penney is no stranger to folktales (Ian Penney's
Book of Nursery Rhymes). Using a straightforward and
almost childlike narrative style, he recounts eight of the
most popular fairy tale classics: "The Princess and the
Pea," "The Willow Plate Story," "Rapunzel," "Sleeping
Beauty," "The Three bears," "The Three Billy Goats
Gruff," and "Hansel and Gretel." Younger readers will
enjoy the flow and simplicity of the stories; older chil-
Fables, Folktales, and Fairy Tales 41
dren will additionally search for the eight little acorns
hidden in the book' s main illustrations. One at a time or
all at once, children enjoy the familiar tales and com-
fortable and humorous way they are presented.
Philip, Neil, translator. Isabelle Brent, illustrator.
Fairy Tales of Hans Christian Andersen. New York:
Viking Books, 1995. 140 pp., $19.95. Ages 4 and up.
Writer and folklorist Neil Philip' s expertise in cap-
turing the essence of the original author is seen again in
his newest collection of Hans Christian Andersen' s fairy
tales (see also The Compl et e Fairy Tales of Charl es
Perrautt; Fairy Tales of Eastern Europe). The 12 stories
in this collection draw upon the best and least known of
Andersen' s works to show the range and complexity of
his talent and creativity. Richly detailed and brilliantly
colored borders and illustrations complement the pre-
sentation of the stories and intensify the aesthetic plea-
sure children and their adults receive when sharing this
book. Philip' s brief introduction provides a keen insight
into the background and motivation of Hans Christian
Andersen as a genius in the art of storytelling.
Climo, Shirley. Loretta Krupinski, illustrator. The
I rish Cinderlad. New York: Harper Collins, 1996. 28
pp., $14.95. Ages 4 and up.
Across time and cultures, the story of Cinderella
has often been considered one of the most famous fairy
tales ever written. The rags to riches story has appeared
in a host of versions and adaptations. Author Shirley
Climo has researched hundreds of Cinderella tales from
all over the world. The Irish Cinderlad is her third pub-
lished version of this tale (see The Egyptian Cinderella;
The Korean Cinderella). With the arrival of a wicked
stepmother and stepsisters, Becan, the cinderlad, is ban-
ished to the fields where he rescues a princess and then
disappears. Young readers enjoy anticipating how his
enormous flopping feet and gigantic boot give him a
foot up on all those who hoped to marry the princess.
ONE LAST THI NG TO CONSI DER
Traditional literature is, by nature, a part of a rich
oral heritage. At their best, these stories capture the ani-
mat ed and conversational style of the ancient story-
tellers. Adults who enjoy this genre share it best with
children as storytellers. After all, children are able to
read adults long before they are able to read books!
They sense the passion we feel about the literature we
read to and share with them. So search your memory for
that special Mother Goose rhyme, that special folktale,
or maybe even that special fairy tale.
Share your literary past with the children entrusted
to your care; link with them to continue building the
chain of the folklore we tell and will continue to retell
...forever.
REFERENCES
King, N. (1993). Storymaking and drama. Portsmouth, NH:
Heinemann.
Neuman, S., & Roskos, K. (1993). Language and literacy learning in
the early years. Fort Worth, TX: Harcourt Brace.
Raines, S., & Isbell, R. (1994). Stories: Children's literature in early
education. Albany: Delmar Publishers.
Tomlinson, C., & Lynch-Brown, C. (1996). Essentials of children's lit-
erature. Boston: Allyn and Bacon.