This is a presentation of “Aschenputtel” as published in the 1812 first edition of Kinder- und Hausmärchen by Jacob and Wilhelm Grimm. Translated and performed by T.Q. Townsend. This audiobook may be freely used for non-profit educational purposes.

Illustration: Alexander Zick

The audiobook is also available on YouTube:

Aschenputtel (1812)

Translated by T.Q. Townsend

Once upon a time there was a rich man and his wife who lived happily together with their little daughter. But the woman became gravely ill, and before she died she said to called her daughter to her and said: “Dear child, I must leave you. But when I am in heaven I will watch over you. Plant a tree on my grave, and if you ever need anything, shake it. When you are in need I will send you help. All you must do is remain pious and good.” With these last words, she closed her eyes and died. The girl wept for a long time. But she remembered to plant a tree on her mother’s grave. She never needed to carry water to the tree, for her tears were enough.

The grave was covered in a white cloth of winter snow. Then the warm summer sun pulled the blanket away, and the tree became green for a second season. Then the man took another wife. The new stepmother had been a widow, and had two daughters who were fair of face but proud, wicked, and haughty in heart. As soon as the wedding was over and the three newcomers drove to the house, things went badly for the poor girl.

“What is this nasty useless thing doing in the house?” said the stepmother, taking the girl into the kitchen. “If she wants to eat bread she must earn it first. She can be our maid.”

The stepsisters took away her beautiful clothes and put an old gray gown on her.

“It looks good on you!” the stepsisters cackled.

The poor child had to do the heaviest work in the house. Every morning she rose early, carried water from the well, lit the fire, cooked, and washed. The stepsisters did all the could to mock her. Their favorite prank was to pour the peas and lentils into the ashes by the fireplace so that the girl would have to spend all day picking them out and cleaning them. At night she had no bed to lie in, so she would sleep in the ashes by the hearth to keep from freezing. And because she was constantly digging in the ashes and sleeping by the fire, she became very dusty and dirty. And so her stepsister gave her the name Aschenputtel.

Some time later, the King announced that there would be a splendid ball which would last for three days. It was time for his son to choose a wife. The two proud sisters were invited to attend. They bragged to Aschenputtel even as they made her serve them. “Come up,” they called. ‘Comb our hair. Brush our shoes and buckle them. We’re going to the Prince’s ball!” Aschenputtel did her chores faithfully, but the stepsisters still scolded her.

The stepsisters asked mockingly, “Aschenputtel, would you like to go to the ball?”

“Oh, yes,” Aschenputtel answered. “But how could I go? I have nothing to wear.”

“No indeed,” sneered the eldest stepsister. “That would be a fine thing if you showed up. We would be ashamed if people heard you were our sister. You belong in the kitchen. There you have your bowls of lentils. When we get back they must be properly sorted. Be careful not to leave any bad ones in, or you will regret it.”

And with that the stepsisters went away. Aschenputtel stood at the window and watched until the carriage vanished from her sight. When she could see them no more, she sadly went back to the kitchen and stared at the enormous heap of lentils that she had to sort.

“Oh,” she sighed. “I have to finish all of this work by midnight. No matter how my eyes hurt me, I can’t let them close. Oh, how I wish my mother knew of this!” She knelt before the stove next to the pile of lentils and was about to start sorti...

The original 1812 edition of “Aschenputtel” was changed by the Brothers Grimm for the 1819 edition. What did they change, and why? Should one or the other be considered the “official” version, or neither?

The first edition of Kinder- und Hausmärchen by the Brothers Grimm was intended mainly for adults studying folklore. But over time, families and children became the main buyers of the book. With each edition, the Grimms altered the stories to make them more socially acceptable to 19th century parents, adding morality designed to teach children how to behave. Unlike the recent trend to posthumously censor the work of authors like Dr. Seuss and Roald Dahl, Grimm’s tales were edited by their own authors. So readers can look at the multiple versions of their stories, notice what changed, and decide for themselves which version they prefer.

Accompanying this episode are two audiobooks, in which I perform my translations of the 1812 version and the 1819 version.

Activity: Two Grimm Cinderellas

This activity is best for students aged about twelve and up. Students can explain their answers in a group discussion, a short written response, or an essay.

Compare the 1812 and 1819 versions of “Aschenputtel” by Jakob and Wilhelm Grimm. Write down a list of similarities and differences between the two stories. Then ask students to think about which version they prefer, paying extra attention to the ending of the story, the roles of the father and stepmother, and the punishment given to the stepsisters.

Students can consider questions such as:

* Is it punishment enough to have the sisters watch Aschenputtel drive off with the prince as they stand on the front porch with their bleeding feet, or is it more satisfying to see the wrath of the almighty descend to take away their eyes?

* How does the role of the father change in the two stories? Which version does a better job of showing his failings as a good father?

* Do you think either of the versions should have showed the father and stepmother receiving some kind of punishment, or do you think the stories work well as they are?

* Is it better for a story like “Aschenputtel” to realistically show what happens when people are cruel, with wickedness often going unnoticed, or is the story better for children when it shows good people being rewarded and bad people being punished?

* Should either of these stories be considered the official version? If so, which one and why?

My brother, Kyle Mortensen, died unexpectedly last week at the age of only 37. He was a wonderful storyteller. He had a singular mix of wit, sarcasm, abrasiveness, affection, and insight, and all of these things bubbled together whether he was telling a story or writing one down. Kyle spent years researching the history of the people who lived in Iga province in medieval Japan, and from this grew a meticulously crafted work of historical fiction that he self-published a few years ago with the title Mists of Iga. It was intended to be the first in a series called Sons of Yōkai. I had planned to review this book when the sequel was ready to be published, but as that will now never happen, I would like to offer this small tribute to the writing of a good man, a wonderful husband and father, and a talented writer who should have had many more years to tell his stories to us all.

The themes and characters in Mists of Iga will appeal to teenagers, who will recognize the struggle of having growing skills and knowledge, but lacking the wisdom and experience to be seen as fully adult. The novel also shows the sort of strong, healthy masculine bonds that help boys grow into good men as two older shinobi take on the role of surrogate uncles to the orphaned sons of their friend and mentor. Set amidst the chaos of Japan in 1581 as Oda Nobunaga’s forces swept across the islands in an unstoppable conquest, Mists of Iga is a stirring tale of adventure and friendship told with wit, wry humor, and the unmistakable talent of a writer who will be dearly missed.

Get your copy of Mists of Iga on Amazon. All of the profits will go to Kyle’s wife and three young sons.

You can also donate to the Kyle Mortensen Memorial Scholarship Fund, which will be invested so that his sons can afford a good education one day.

Music in this Episode

“Kōjō no Tsuki” by Taki Rentarō

Little Lord Fauntleroy, a charming story about the nicest kid ever, seems an unlikely subject for a landmark lawsuit. But Frances Hodgson Burnett’s tenacious defense of her rights to her own work forever changed copyright law in Britain, making things better for writers to this day.

Episodes of this show are usually about children’s stories themselves, but I thought it would be fun to share the history of what happened when theater producer E.V. Seebohm decided to rip off Little Lord Fauntleroy and put it on the stage in London, even though he had nothing to do with the book’s creation and its author directly refused her permission. At this point in history, authors had no way to stop unauthorized stage adaptations of their stories. Learn about Burnett’s tenacious defense of her rights and the creative legal strategy that helped win her case.

Activity: What is plagiarism?

Plagiarism means to copy someone else’s work and present it as your own. It’s a terrible idea, because when — not if — someone gets caught plagiarizing, irreparable harm can be done to their grades, reputation, and ability to find a job. It can also, as in the case of E.V. Seebohm’s plagiarized stage production of Little Lord Fauntleroy, result in trouble with the law.

Give children a short passage from Little Lord Fauntleroy to read, then help them to do the following:

* Directly quote a sentence from the text, using correct punctuation and indicating the chapter number, title of the book, and the author.

* Paraphrase a few lines from the text without exactly duplicating too many of the words, also indicating the chapter number, title of the book, and the author.

* Plagiarize a sentence from Little Lord Fauntleroy by copying it partly or entirely into a sentence the student has written as the beginning of a new story.

Discuss the differences between direct quotation, paraphrase, and plagiarism with students, and tell them it is always best to ask for help if they aren’t sure if they have quoted or paraphrased a text correctly.

Sources Used in Research for This Episode

Nierman, Judith. (2010). Piracy Inspires “Real” Stage Versionof Children’s Classic. Copyright Notices, March 2010, p. 16. https://www.copyright.gov/history/lore/pdfs/201003%20CLore_March2010.pdf

Rogers, Edward S. (1902). The Law of Dramatic Copyright. Michigan Law Review, 1(2), pp. 102-120. https://www.jstor.org/stable/pdf/1272297.pdf

Please enjoy my performance of “The Nightingale” by Hans Christian Andersen. I’ve done a fairly direct translation of the text from the original Danish. Andersen’s dry wit is difficult to convey, but I hope you get some idea of his writing style, even in another language.

The full text of this story can be found on its page, which is listed among other folk tales that I have recorded.

This audiobook is also available on YouTube:

“The Nightingale” by Hans Christian Andersen tells of an emperor who becomes enthralled with the song of a mechanical bird to the point that he can’t appreciate the song of the genuine article. In the end he comes to realize that human inventions, while impressive, lack the deeper beauty and emotional connection of natural life.

Illustration: “The Nightingale” by Ukrainian artist Georgi Ivanovich Narbut, 1912.

Activity: Reading questions for “The Nightingale”

Before reading “The Nightingale,” ask the following questions to help children prepare for the ideas they will encounter in the story. Children can give their answers in an informal discussion or in short written responses.

* Have you ever felt pressure to say something was cool because all of your friends were saying so?

* What would you do if there was something you really enjoyed, but which suddenly became unfashionable?

* Would you hide the fact that you still liked it, would you stop enjoying it, or would you continue to enjoy it as before?

* How would you deal with your friends when they told you that the thing you liked wasn’t cool anymore?

* If you ignored a good friend for a while, would it be hard for you to admit that you had made a mistake and should have been a better friend?

* Can you think of examples of technology that is pretty amazing, but might not be better than something from real life?

Return to these questions after reading, asking students to connect specific examples from the text to the answers they gave before reading the story.

The works of Roald Dahl are being rewritten by Inclusive Minds at the request of Puffin Books and the Roald Dahl Story Company. Anything deemed offensive by modern-day censors is being deleted or altered, and entirely new writing is being added. In this episode, I explain how modifying Dahl’s writing results in a damaged, adulterated story, as well as give examples of how challenging texts can be adapted for younger writers in a way that is respectful and true to the author’s original work.

I try to keep this show far away from politics and can rarely be compelled to go anywhere near the culture wars, but my conscience wouldn’t let me remain silent while an act of literary vandalism was going on. I’ve included a transcript of this episode here because it’s important to me to be clear about how I feel about censorship and artistic integrity.

Transcript of The Children’s Literature Podcast

Episode 59

“Censoring Roald Dahl”

20 February 2023

This episode of the Children’s Literature Podcast is brought to you by a long, exasperated sigh.

Welcome to the Children’s Literature Podcast. I’m your host, T.Q. Townsend. This episode is called “Censoring Roald Dahl.”

So I had this nice little episode all ready for you about “The Nightingale” by Hans Christian Andersen. It’s a really lovely story about not losing sight of the beauty of nature and the value of personal relationships even if you’re being dazzled by amazing new technology, but I had to put it on hold for a week. I had to stop everything and write this episode about what Puffin Books have chosen to do to the books of Roald Dahl.

I find politics exhausting. I avoid culture war battles like the plague because they are never productive, they never seem to change anyone’s mind, and they tend just to make people think that having a difference of opinion makes it justifiable to hate someone. Living happily in my world of children’s stories, I mostly get to avoid all that. Children’s literature is magical because it is about characters and adventures that are usually blissfully unaware of adult nonsense. I intentionally keep this show G-rated and have, on several occasions, chosen not to do episodes which might have been good for ratings but wouldn’t have been good for my soul.

At the same time, my conscience won’t allow me to let this pass without offering some comments and a plea. Puffin Books has chosen to hire a company called Inclusive Minds to extensively edit the works of Roald Dahl. They have banished words like “fat” and “female” because these are apparently the new F words. The BFG is not allowed to wear a black cloak, and nobody is allowed to turn white with fear. I don’t understand what the problem is with either of these things, but it’s probably something something something . . . racism? In The Witches, an undercover witch is no longer working in a supermarket but is now a top scientist because something something something . . . women in STEM? “Boys and girls” have been expunged in favor of the word “children,” and Oompa Loompas are now gender neutral. I won’t bother listing every change because I don’t need high blood pressure and it would take too long, but there’s plenty of reporting on it now that the story has broken so you can read as much as you can tolerate. Puffin and Inclusive Minds are making the kind of ham-handed, tedious changes that prompt YouTubers to scream about how wokeness is destroying everything, and for blue-haired people on Twitter to start calling everyone bigots. It’s tedious and frustrating and it is no fun to talk about at all.

But we have to, because this cultural moment is out of control and it’s going to affect our children and the integrity of art.

Jonathan Emmett is February’s Leicestershire Author of the month! I really enjoyed our interview, in which we talk about his fun childhood spent using tools, his training as an architect, and how he blended his interests in problem-solving, design, and storytelling during his successful career as a children’s author.

Each month this year I will be featuring authors who are from Leicestershire or who live here, as my way of using the show and its growing audience to support writers in my local community. If this interview is any indicator of things to come, I’m going to have a lot of fun over the coming months speaking with really interesting people!

Jonathan grew up in Enderby, a village just on the southwestern outskirts of Leicester City. The librarian in Enderby fortunately had an eye for American authors like Maurice Sendak, P.D. Eastman, and Dr. Seuss, all of whom were a big influence on Jonathan as a child. His parents encouraged him not just to read, but to play with real tools, building and designing things from a young age. As he trained to become an architect, he learned that Computer Aided Design (CAD) programs were really useful in designing pop-up books, something he still does today.

This interview gives a glimpse into an interesting career, with sound advice for prospective authors and fun reflections on the importance of allowing just the slightest bit of danger into childhood.

You can learn more about Jonathan Emmett and the books he’s written at jonathanemmett.com. Follow him on Twitter at JonathanEmmett, Facebook at JonathanEmmettAuthor, and Instagram at jonathanemmett. He also has a YouTube channel and a Pinterest page.

Activity: Make A Pop-Up!

Jonathan Emmett doesn’t just write books — he designs them! His background as an architect helps him come up with clever designs for books that pop up into three dimensional pictures. Check out his page on how to make your own pop-up pages.

Akage no An, the Japanese translation of Anne of Green Gables, has remained wildly popular in Japan for 70 years. But why has a story about a redheaded orphan from Canada’s smallest province become such an essential part of Japanese literature? Hanako Muraoka, the translator who brought this book to her country, published this story at just the right time, when her war-torn nation was eager for a simple story about a girl with realistic struggles, dreams, and relationships.

In the second of two episodes about the impressive life of Hanako Muraoka, learn about how the translation of Anne of Green Gables was finally published and why it became so popular in Japan. Much of this story can only now be known because of the publication of Anne’s Cradle: The Life and Works of Hanako Muraoka, Japanese Translator of Anne of Green Gables. This engaging biography was written by Hanako’s granddaughter Eri Muraoka and has much to teach us about the power of literature to bring people together, even when they come from countries that were once enemies.

Activity: Discussion or Essay Questions for Anne’s Cradle

After reading chapters nine and ten of Anne’s Cradle, consider the following questions. Answers could come in the form of a class discussion, short reflection, or essay.

Chapter 9: Hanako had mixed feelings about her father’s death. Do you feel that he did a good or bad job as a father toward his children?

Chapter 10: Hanako gave her mother a Buddhist funeral, even though she herself was a Christian. What does this say about Hanako’s ability to understand and respect different beliefs?

Hanako Muraoka is a name that is revered in Japan, but this remarkable woman is hardly known outside her home country. That should change with the publication of Anne’s Cradle: The Life and Works of Hanako Muraoka, Japanese Translator of Anne of Green Gables. This biography was written by Hanako’s granddaughter Eri Muraoka, and has been expressively translated into English by Cathy Hirano, who brought the phrase “spark joy” into existence when she translated The Life-Changing Magic of Tidying Up by Marie Kondo. For more information about this book, check out its page over at Nimbus Publishing.

Hanako’s life is well worth discovering. Her life was burdened with many hardships. Born to a poor family, she grew up as a scholarship student in a boarding school with very few chances to see her family. As a devout Christian, she was a member of a stigmatized and mistrusted minority group during dangerous times. She lost loved ones to disease and war, yet always found a way to regain her faith in friendships and the power of books to bring people together. Her hard work led her to an impressive career as a teacher, writer, editor, translator, publisher, and radio host during a time when few women were permitted to be employed at all.

Just before the outbreak of World War II, a Canadian colleague presented Hanako with a parting gift before she fled the country to return home. It was a much-loved copy of Anne of Green Gables by Lucy Maud Montgomery, which Hanako promised to translate into English. She kept the book secret during the war, hiding a work by a “foreign enemy” that could have gotten her into quite a lot of trouble. By the end of the war, this beautiful tale had been translated into eloquent, expressive Japanese.

This episode covers Hanako’s life until the end of World War II. In the next episode, I’ll conclude her tale, revealing how Anne of Green Gables became one of the most popular books in modern Japan.

In this episode I mentioned this heartwarming video made by the Embassy of Japan in Canada, where Eri Muraoka speaks a little about her grandmother and the reasons she worked so hard to translate Anne of Green Gables.

Activity: Discussion or Essay Questions for Anne’s Cradle

After reading the first eight chapters of Anne’s Cradle, consider the following questions. Answers could come in the form of a class discussion, short reflection, or essay.

Chapter 1: Hanako’s father was a very unconventional man. In what ways did this positively and negatively affect his abilities as a father?

Chapter 2: Hanako’s family was relatively poor and low status. When she arrived at her new boarding school she was suddenly surrounded by classmates who came from wealthy, even noble backgrounds. She had to learn not only to speak English but a higher-status style of Japanese. How would it have felt as a girl of only ten to suddenly experience such a change?

Chapter 3: In what ways did Hanako’s education and upbringing leave her well prepared to understand Anne of Green Gables when she eventually encountered the book?

Chapter 4: Hanako’s friend Asako Hirooka says, “I want you to use your education not just to raise your own status but to raise the status of every woman in Japan.” Hirooka’s goal was to gain full human rights for women, along with the ability to vote. Why would she have felt that high status women could not have helped her cause by remaining focused on their own achievements? Can holding up the achievements of a few exceptional women serve as a distraction from broader issues affecting women as a class of people?

Chapter 5: Keizo Muraoka remained in a difficult position, still legally married to a wife he had not seen in three years but concerned about his religious prohibition on divorc...