“... the story of my marriage, which is the great joy and astonishment of my life, is too much like a fairy tale, the German kind, unsweetened by Disney.”

“The consolation of fairy-stories, the joy of the happy ending; or more correctly of the good catastrophe, the sudden joyous "turn" (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well, is not essentially "escapist," nor "fugitive." In its fairy-tale -- or otherworld -- setting, it is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure: the possibility of these is necessary to the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.”

“Instead of celebrating with a cake (too full of poisonous refined sugars) and presents (too materialistic), my mother would come into my room at exactly 3:57 A.M. to tell me the story of my miraculous emergence into this world, as if it was some fairy tale. Although I supposed few fairy tales involved the words 'vaginal flowering'.”

“Children's and Household Tales (German: Kinder- und Hausmärchen) is a collection of German origin fairy tales first published in 1812 by Jacob and Wilhelm Grimm, the Brothers Grimm. The collection is commonly known today as Grimms' Fairy Tales (German: Grimms Märchen).”

“I wished that, for once, faery tales – real faery tales, not Disney fairy tales – would have a happy ending.”

“In England in the 19th century, advances in printing methods, combined with the rise of a prosperous middle class, engendered a booming new industry of books published just for children. Casting about for cheap story material, English publishers laid hands on the subtle, sensual adult fairy tales of the Continental tradition and revised them into simpler stories instilled with Victorian values. Although these simplified versions retained much of the violence of the older stories, elements of sexuality and moral complexity were carefully scrubbed away — along with the fiesty heroines who appeared everywhere in the older tales, tamed now into models of Victorian propiety and passivity. In the 20th century, the Walt Disney Studios watered down the tales further still in popular animated films like Sleeping Beauty and Snow White, continuing the trend of turning active heroines into powerless damsels in distress. Walt Disney considered even the Victorian versions of the tales too dark for 20th century audiences. "It's just that people now don't want fairy stories the way they were written," Disney commented. "They were too rough." ”