Perhaps coincidentally, diplomats feature prominently among writers from 'emerging' countries such as Brazil and India. Yet unlike, say, Vikas Swarup's 'Q & A' (better known through its movie adaptation 'Slumdog Millionaire'), Edgard Telles Ribeiro's recent novel 'His Own Man' (first published in Portuguese in 2010, and translated into English in 2014) does not let the -- often messy -- politics fade into the background of a human-interest story. 'His Own Man', writes BRB reviewer Julian Murphy, sometimes reads like a personal effort at coming to grips with how a country and a people can rapidly change its leaders and its values, yet calling the book a 'personal' account would do the book a disservice: It is also undoubtedly a contribution to a public record of a dark era -- between 1960 and ca. 1985 -- of South America's history.
Fairy tales seem quaint, imbued with the patina of a bygone age -- literary misfits in a modern world. Why, then, do they continue to be so remarkably popular? One reason is their appeal to timeless experiences, conflicts, and narratives that are intelligible across different traditions. In a new edition of a 1934 collection of 'modernized' fairy tales, which was first commissioned by Peter Davies (and has now been updated, with a new introduction, by Maria Tatar), much of the patina is stripped away from the olden stories -- and a significant dose of satire and black humour is added -- revealing just how much fairy tales can tell us also about the modern world. As reviewer Dieter Petzold observes, many of the modernized versions amplify the originals, by adding details that make their fictional world often seem 'more real' than the silhouette world of traditional folktales. And, perhaps more tellingly, virtually all modern writers take an ironic stance -- adding a layer of self-conscious awareness to the intrinsic strangeness of the worlds described.
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