Although fairy tales are still arguably the most powerfully formative tales of childhood and permeate mass media for children and adults, it is not unusual to find them deemed of marginal cultural importance and dismissed as unworthy of critical attention. Yet the staying power of these stories, their widespread and enduring popularity, suggests that they must be addressing issues that have a significant social function—whether critical, conservative, compensatory, or therapeutic. In a study of mass-produced fantasies for women, Tania Modleski points out that genres such as the soap opera, the Gothic novel, and the Harlequin romance “speak to very real problems amid tensions in women’s lives. The narrative strategies which have evolved for smoothing over these tensions can tell us much about how women have managed not only to live in oppressive circumstances but to invest their situations with some degree of dignity.” Fairy tales register an effort on the part of both women and men to develop maps for coping with personal anxieties, family conflicts, social frictions, and the myriad frustrations of everyday life.
From the introduction to The Classic Fairy Tales (Norton Critical Editions)
by Maria Tatar
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