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Does Donaghue effectively work queerness into the fabric of the fairytale rather than overwriting it? How?

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Define hypotextuality (Tosi)

Similarities in language show Donoghue's attempt to make her story as similar to the original as possible, writing queerness into the hypotextuality of B&tB.

the cultural significance of these stories in classic fairytale settings: validation and socialization of children (broader acceptance)

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The true power of the fairy tale lies in its cultural ability to teach a child right from wrong, good from evil. Fairy tales plant the seed of social expectation regarding gender, morality, religion, and so much more, largely because of their hypotextual presence in the Western mind. However, as the needs of childhood socialization evolve, so must our fairytales. The result of this demand is a sub-genre of modern fairy tale retellings that serve to correct a moral wrong or a historical misrepresentation or absence, due to the time period in which they were written, their extended societal context, or the teller's preoccupations. Such works develop narratives that surround race, gender, sexuality, and violence in a way that prepares children to navigate a more varied landscape of humanity than the world they see in a book of Grimm stories. In Emma Donoghue's 1993 short story, "The Tale of the Rose," she develops a narrative heavily evocative of Jeanne-Marie Leprince de Beaumont's Beauty and the Beast, save for the explicitly sapphic love story and strong feminist rhetoric. Yet, unlike many modern retellings that attempt to jam a queer relationship into the inherent heteronormativity of a tale's hyptoextual class, Donoghue carefully weaves her own story into Beauty and the Beast's characteristic romanticism and poignant symbolism in a way that writes queerness seamlessly into the tale, rather than on top of it. Through close examination of the language and symbolism in both Emma Donoghue’s “The Tale of the Rose” and Beaumont's "Beauty and the Beast,” I will show how Donaghue develops queer identity within the fabric of the classic fairytale rather than overwriting it, demonstrating how fairytales’ preoccupation with romanticism is not inherently heterosexual, but rather an expression of the perseverance of love across universes.

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Through close examination of the language and symbolism in both Emma Donoghue’s “The Tale of the Rose” and Beaumont's "Beauty and the Beast,” I will show how Donaghue develops queer identity within the fabric of the classic fairytale rather than overwriting it, demonstrating how fairytales’ preoccupation with romanticism is not inherently heterosexual, but rather an expression of the perseverance of love across universes.

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Rose: what is forbidden in both stories, however one is representative of lips. Forbidden lips reminiscent of internalized homophobia, lack of social acceptance

Beast: a man is a beast, a woman is a beauty. What does that make two women in love? This depends on who is viewing them. Donoghue makes comment on gender roles

Isolation: is isolation good or bad in either tale? How does isolation mirror, encourage love? Can the beast's isolation in Donoghue be considered a form of being closeted?

Mirror: what does it mean to be beautiful in both tales? how is loving another person loving your own reflection? Donoghue's protagonist appreciates her own reflection more, symbolizes interconnection ("mirror images", sapphic ability to relate more strongly to a woman than a man)

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1. Beaumont

2. Little Mermaid

3. Beauty and the Chad

4. Donoghue

5. Tosi

6. Zipes?

7. T&S

8. Magic Fish?

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other queer stories:

Beauty and the Chad (overwriting, not accessible to children due to metafictionality and more mature content

The Little Mermaid (Andersen's allegory, highly interpretive, Donoghue achieves what he allegedly sought)

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1. Hypotext and hypotextuality

2. Socialization

3. Restorying

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1. hypotextuality and recognition helps socialize children on what is right and wrong

2. by writing queerness (and other marginalized voices) into fairytales, it can begin to be accepted more widely, as our stories define our world as children

3. there are ways in which to write such retellings that are both morally correct and accessible to children (this being the utilization of language and symbolism to create the authentic feel of a classic fairytale that children can recognize) (1. accessing original symbolism but using it as queer allegory emphasizes the basic romanticism of the story, not the heterosexuality which is emphasized by the retained story line [horror, fear, etc]) (2. language inserts this queer story into a fairytale land that kids already recognize)