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Washington Square unwelcoming Henry Saint (1843-1916) Graphic in 1880.

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C. M. Rosens

Bluebeard Retellings and Reimaginings

As I’m sure you all know I’m not a folklorist or anything like that, but I LOVE folktales and stories, and I think in worldbuilding one of the best and most fun ways to get to grips with a culture is by imagining what stories people tell about themselves and their world. In The Crows I made up local legends and sayings, and put out a little eBook collection of hyperlocal folktales ‘collected’ from the area called Folklore of Pagham-on-Sea. which you can get for 99p from eBook stores, Amazon, or directly from me (preferred if possible!)

I’m making up whole myths and belief systems for my Yelen & Yelena fantasy world, and really enjoying that process. Each chapter is prefaced by some snippets of these, as I wanted to give that flavour without being too heavy-handed in the text, and you can always skip over them.

That disclaimer aside, I am continuing this series of posts on real world folktales and their retellings/reimaginings with Bluebeard, as this tale won the poll in the previous post – so here we are!

The first section of this post is a short look at different types of tale and some links to versions across the world, and then the second section is the retellings/r

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The Antipodeans Groupconsisted of 7 painters plus art historian Bernard Smith. They compiled The Antipodean Manifesto, a declaration fashioned from their commitment to modern, figurative art. The artists were Charles Blackman, Arthur Boyd, David Boyd, John Brack, John Perceval and Clifton Pugh(all from Melbourne) and Robert Dickersonfrom Sydney. I want to focus on just one of them.

In 1950 and in 1954, Arthur Boyd(1920–99) visited Central Australia for a month, travelling from Melbourne by train to Alice Springs. Then he went by jeep into the desert where people lived in forlorn humpies clustered on the outskirts of towns. Boyd was shocked and depressed to witness the plight of Indigenous peop­le, seg­reg­ated and dehumanisedby the white population. He was equally distressed by the situation of those of mixed descent, isolated from both the indigenous and white communities, suspended in a no-man’s-land. Boyd was always the cons­c­ientious objector.

It was on the road to Alice Springs that Boyd witnessed a truck carrying a group of Indigenous brides, whose white wedding attire contrasted sharply with the rattly vehicle normally used for transporting cattle. Back at home, The Contemporary Art Society’s annual exhibit