Witches,
Princesses and Women at Arms: Erotic Lesbian Fairy Tales
Edited
by Sacchi Green
Cleis
Press, 2017
Fairy tales are not really for kids. They capture the
archetypes that define our human experience: the strong, valiant,
virtuous hero; the trickster who distracts or tempts him, delighting
in chaos for its own sake; the malevolent witch, thriving on a diet
of cruelty and succulent children; the sweet, patient heroine
imprisoned in the tower, awaiting the happy salvation she deserves;
the wise mage, offering guidance and occasionally tipping the scales
in favor of the good. Tests and quests await the hero and heroine,
who must prove their worthiness for the happily-ever-after that is
the sine qua non of (Western) fairy tales. Ultimately evil is
vanquished and virtue prospers, reassuring us of the order in the
world.
Fairy tales touch us emotionally, partly because of this
satisfying resolution, but at least in part because they speak to our
simpler, less civilized selves. Often they take us back to our
primeval wildness, leaving us to wander in trackless forests
populated by beasts and magical beings.
Thus, it is not surprising that many of the old stories
have been given erotic interpretations. Sex is a force of nature, as
well as a kind of magic. Most erotic fairy tales, however, have
maintained the traditional gender distinctions of their sources. The
brave, energetic princes are male; the yielding, nurturing princesses
are female. The archetypes have become stereotypes.
Sacchi Green’s new anthology Witches, Princesses
and Women at Arms offers a welcome exception. The book collects
thirteen (I wonder if the magical number was intentional) marvelous
stories in which it is women who carry the swords, complete the
quests, cast the spells, outwit the villains, and rescue captives
from terrible fates.
A few of the contributions, like Michael Jones’s “The
Miller’s Daughter” and Emily Byrne’s “Toads, Diamonds and the
Occasional Pearl”, are riffs on familiar tales. I particularly
enjoyed Brey Willows’s “Penthouse 31”, a retelling of Rapunzel
in which the long-haired captive escapes to join a muscular window
washer who recognizes her imprisonment. This is the only story in
the book that features a contemporary setting; I found the change
refreshing.
Many stories feature new plots and characters, though
they offer traditional fairy tale themes and environments. Salome
Wilde’s “The Princess’s Princess” is one of my favorites. A
spoiled and petulant princess is forced to serve as hostess to the
visiting daughter of a neighboring king, and discovers she has a lot
to learn from the woman she initially resents. Annabeth Leong’s
“The Mark and the Caul” is a delicate, complex exploration of
what it means to be different. Sacchi Green spins old myths about
trolls into a surprising, original yarn in “Trollwise”. “The
Prize of the Willow” by H.N. Janzen portrays the lifelong love
between a human woman and a dryad.
Most of the sexual activity in these tales is sensual
rather than explicit, in keeping with their dream-like tone.
Nevertheless, there’s plenty of heat. Two of the most exquisite
examples are A.D.R. Forte’s “The Warrior’s Choice” and Lea
Daley’s “The Sorceress of Solisterre”. Both stories do a
beautiful job evoking the ache of unconsummated desire, the magnetic
attraction between kindred spirits, and the transcendent release when
that fated connection finally occurs in the flesh.
Overall, this is a fine anthology, another feather in
veteran editor Sacchi Green’s cap. My only complaint is leveled at
the publisher. I’ve worked with Cleis myself and I know they
strictly limit the story length. In my opinion, this would have been
an even stronger collection if there had been more variety in this
regard. All the stories are on the short side (probably less than
4000 words). Although the authors do an excellent job spinning fairly
complicated plots within these constraints, I would have enjoyed more
variation.
If you enjoy lesbian fiction with a lyrical bent, I
highly recommend this book.
