“There were two things about this particular book (The Golden Book of Fairy Tales) that made it vital to the child I was. First, it contained a remarkable number of stories about courageous, active girls; and second, it portrayed the various evils they faced in unflinching terms. Just below their diamond surface, these were stories of great brutality and anguish, many of which had never been originally intended for children at all. (Although Ponsot included tales from the Brothers Grimm and Andersen, the majority of her selections were drawn from the French contes de fées tradition — stories created as part of the vogue for fairy tales in seventeenth century Paris, recounted in literary salons and published for adult readers.)I hungered for a narrative with which to make some sense of my life, but in schoolbooks and on television all I could find was the sugar water of Dick and Jane, Leave it to Beaver and the happy, wholesome Brady Bunch. Mine was not a Brady Bunch family; it was troubled, fractured, persistently violent, and I needed the stronger meat of wolves and witches, poisons and peril. In fairy tales, I had found a mirror held up to the world I knew — where adults were dangerous creatures, and Good and Evil were not abstract concepts. (…) There were in those days no shelves full of “self–help” books for people with pasts like mine. In retrospect, I’m glad it was myth and folklore I turned to instead. Too many books portray child abuse as though it’s an illness from which one must heal, like cancer . . .or malaria . . .or perhaps a broken leg. Eventually, this kind of book promises, the leg will be strong enough to use, despite a limp betraying deeper wounds that might never mend. Through fairy tales, however, I understood my past in different terms: not as an illness or weakness, but as a hero narrative. It was a story, my story, beginning with birth and ending only with death. Difficult challenges and trials, even those that come at a tender young age, can make us wiser, stronger, and braver; they can serve to transform us, rather than sending us limping into the future.”

“Fairy tales were not my escape from reality as a child; rather, they were my reality -- for mine was a world in which good and evil were not abstract concepts, and like fairy-tale heroines, no magic would save me unless I had the wit and heart and courage to use it widely.”

“Though now we think of fairy tales as stories intended for very young children, this is a relatively modern idea. In the oral tradition, magical stories were enjoyed by listeners young and old alike, while literary fairy tales (including most of the tales that are best known today) were published primarily for adult readers until the 19th century.”

“Besides, she likes my stories. They are like fairy tales, I suppose, full of kings and queens and adventures. Ma says people think fairy tales are simple stories but they are not. I guess I agree. My trouble is I have no talent for thinking up plots. The best I can do is come up with a good beginning. My book of story ideas is really just a book of story beginnings. Still and all, that is something.”

“After a childhood reading fairy tales and myths, is it any wonder that when I began to write my own stories I included fairy tales? Fairy tales are storytelling at its most basic. They’ve been with mankind for as long as people have told stories to each other. Fairy tales speak to something intrinsic in humans—they touch our most primitive selves. How else to explain that the Cinderella story is told in nearly every society on earth? To think of fairy tales as merely stories for children is to ignore thousands of years when fairy tales were used to teach morality, to warn, and to entertain both children and adults.”

“This true difference in me now: I had these experiances, these tales, more of this life. So maybe it wasn't the fairy tale. But those stories weren't real anyway. Mine were.”