{"id":49361,"date":"2022-05-09T11:12:42","date_gmt":"2022-05-09T15:12:42","guid":{"rendered":"https:\/\/apa.si.edu\/bookdragon\/?p=49361"},"modified":"2022-05-10T14:07:03","modified_gmt":"2022-05-10T18:07:03","slug":"timeless-tales-apa-creators-draw-on-myth-and-folklore-to-craft-personal-yet-universal-stories-in-school-library-journal","status":"publish","type":"post","link":"https:\/\/apa.si.edu\/bookdragon\/timeless-tales-apa-creators-draw-on-myth-and-folklore-to-craft-personal-yet-universal-stories-in-school-library-journal\/","title":{"rendered":"Timeless Tales: APA Creators Draw on Myth and Folklore to Craft Personal, yet Universal Stories [in School Library Journal]"},"content":{"rendered":"

\"\"Welcome to one of the more hope-filled, albeit cautious, Asian Pacific American (APA) Heritage Months in recent history. Plenty remains unsettled, challenging, and tragic, but a glass-half-full outlook extols the news that the world is finally, excitedly opening up from the last two-plus years of pandemic isolation. For the APA community, that reemergence comes with vigilance following the alarming surge in anti-Asian hate crimes. As antidotes to and balms against racism and phobias, stories can help soothe, support, and strengthen.<\/p>\n

Among stories that enlighten and entertain are myths and folklore that encapsulate perennially recognizable, universal narratives. Rewriting and subverting the familiar has been a literary trope for centuries. Folklore and fairy tales provide particularly fertile sources for reinterpretations and retellings exactly because of their universal appeal \u2013 Cinderella-esque tales, for example, are ubiquitously worldwide.<\/p>\n

Other mythical elements, however, have remained culturally and geographically specific. To explore Asian folklore\u2013inspired titles, we caught up with four authors (and one translator) whose recent titles found inspiration in their Asian heritage, their titles exemplifying a fluidity of countries, cultures, and identities. Their biographies exactly encapsulate the APA acronym: A for Asian is Sachiko Kashiwaba, the Japanese writer of the latest Mildred L. Batchelder Award-winning<\/a> Temple Alley Summer<\/em>, gratefully English-enabled by Avery Fischer Udagawa; P for Pacific Islander is Hinaleimoana Wong-Kalu, the native Hawaiian author of\u00a0Kapaemahu<\/em><\/a>; A for Americans are Trung Le Nguyen, the Vietnamese American refugee creator of\u00a0The Magic Fish<\/em><\/a>, and Axie Oh, the U.S.\u00ad-born Korean American writer of The Girl Who Fell Beneath the Sea<\/em>. Each of their books deftly reflect Asian myth and folklore in their narratives; each prove to be illuminating celebrations of the lifesaving power of storytelling.<\/p>\n

In her magical\u00a0Temple Alley Summer\u00a0<\/em>(2021), Kashiwaba introduces young protagonist Kazu who is very much alive, but he\u2019s not so sure about an apparition he sees one night slipping out of his family\u2019s home. The next morning, she\u2019s there in his classroom, somehow a familiar friend to all his classmates as Akari \u2013 yet spectral only to Kazu. Via translator Udagawa, Kashiwaba explains her initial impetus for Temple was the \u201csmall guardian Buddha Jiz\u014d [that] was being honored on the altar in [her] parents\u2019 home.\u201d In the traditional Japanese mythic world, Jiz\u014d is the protector of children, especially those who have died. From Kazu and Akari\u2019s otherworldly friendship, Kashiwaba builds a multilayered delight, a mysterious quest that further weaves an unfinished-story-within-a-story involving a lost prince and an evil witch.<\/p>\n

Although Kashiwaba has published over 100 titles in her native Japan,\u00a0Temple Alley Summer\u00a0<\/em>is her first to arrive stateside in translation. Western readers might not yet know her name, but many are familiar with legendary animator Hayao Miyazaki\u2019s film\u00a0Spirited Away<\/em>, which was based on Kashiwaba\u2019s novel\u00a0The Marvelous Village Veiled in Mist.<\/em><\/p>\n

Her 2022 Batchelder win for\u00a0Temple Alley Summer<\/em>, recognizing an outstanding children\u2019s book from outside of the United States and originally published in another language, prompted another stateside import,\u00a0The House of the Lost on the Cape<\/em>. Originally published in 2015 in Japan, it\u2019s already been adapted into a 2021 anime film. Kashiwaba continues to draw on local folklore in\u00a0Cape,<\/em>\u00a0also translated by Udagawa, and due in the U.S. in 2023.<\/p>\n

\u201cMany characters from the\u00a0T\u014dno Monogatari<\/em><\/a>\u00a0make an appearance,\u201d Kashiwaba explains, a reference to a classic collection of myths and legends from Japan\u2019s T\u014dno region; Kashiwaba edited a children\u2019s version of\u00a0T\u014dno Monogatari\u00a0<\/em>in 2016. \u201cThese mysterious stories made me want to slip the same delights and shivers and questions into readers\u2019 hearts with the stories I made.\u201d<\/p>\n

Moving across the Pacific to Hawaii finds Hinaleimoana Wong-Kalu, the co-creator, with Dean Hamer and Joe Wilson, of the glorious picture book\u00a0Kapaemahu\u00a0<\/em>(2022). The mythic legend of the Kapaemahu regales four Tahitian healers who arrived in Waikiki centuries ago. Neither male nor female, \u201cthey were mahu \u2013 a mixture of both in mind, heart, and spirit,\u201d the book reveals. The people built a monument in gratitude, but the \u201cfour great boulders\u201d eventually disappeared in the wake of U.S. colonialism and destructive tourism. The stones were finally recovered, but without their history: \u201cThe fact that the healers were mahu has been erased.\u201d Kapaemahu reclaims the monument\u2019s true origins by honoring the mahu.<\/p>\n

Before the book, Kapaemahu was an animated short film<\/a> that garnered international acclaim, including a 2021 Oscars short list nod. The film\u2019s production team adapted their gorgeous moving images to the page. The book, like the film, is bilingual, presented in Olelo Niihau first, followed by the English translation. Olelo Niihau, Wong-Kalu explains in the author\u2019s note, is \u201cthe only form of Hawaiian that has been continuously spoken since prior to the arrival of foreigners.\u201d Wong-Kalu, who is \u201cKanaka \u2013 a native person descended from the original inhabitants of the islands of Hawaii,\u201d rightfully insists, \u201cWe need to be active participants in telling our own stories in our own way.\u201d<\/p>\n

Like many native Hawaiian youth of her generation and generations that followed, Wong-Kalu \u201cdidn\u2019t grow up with the presence of Hawaiian history and culture,\u201d she says. Her broader education that began in the late 1990s at the University of Hawai\u2019i at Manoa \u201ccumulatively heightened [her] awareness of being Hawaiian,\u201d including discovering the legend of Kapaemahu. Wong-Kalu, too, is neither male nor female, but mahu. \u201cIt was quite liberating to learn that something associated with mahu was so positive,\u201d she says.<\/p>\n

For Wong-Kalu, claiming and preserving her native heritage in a climate of cultural erasure is of critical importance: \u201cEvidence of anything Hawaiian is fleeting or at least diminished greatly \u2013 the history of Hawaii continues to be rewritten by foreigners who are replacing our story with their story,\u201d she says. With Kapaemahu, Wong-Kalu fights back: \u201cI view the telling of this story as a stepping-stone to inspire others to tell their stories and histories.\u201d<\/p>\n

Identity \u2013 explored through myths and legends \u2013 is at the core of Nguyen\u2019s\u00a0The Magic Fish<\/em>\u00a0(2020), a multilayered graphic novel enhanced with story-within-stories interwoven into a coming-of-age narrative about young Vietnamese American Ti\u1ebfn attempting to impart a secret to his mother. When communication falters, sharing the language of fairy tales emboldens difficult conversations.<\/p>\n

\u201cStorytelling was everywhere for me growing up,\u201d Nguyen says. Born in a refugee camp in the Philippines, he arrived as a toddler with his parents in the United States. \u201cI grew up reading and loving a lot of these Western stories, and the Vietnamese ones happened by me through my parents,\u2019 he says. \u201cAbsorbing stories somewhere between the highly curated tales in books and oral tradition stories really gave me the sense that all these stories are valid and gorgeous in their little inconsistencies and differences.\u201d<\/p>\n

Three parallel stories reflect that amalgam of East and West in\u00a0Magic<\/em>, featuring an adaptation of Vietnamese Cinderella,\u00a0Tam C\u00e1m<\/em>; a fairy godparent-like magic fish; and a voiceless mermaid who learns to speak through dance. \u201cAs I got older\u2026I loved revisiting old, illustrated fairy-tale books,\u201d Trung says. \u201cFairy tales emerged as an incredibly important way for me to contextualize culture at large.\u201d\u00a0Magic<\/em>\u00a0is his tangible alchemy. \u201cWe see familiar stories change clothes and shift priorities in order to subsist in new places,\u201d he says. \u201cIn fairy tales, the storytellers interest me more than the stories themselves, because we all tell on ourselves when we tell stories. An exchange of a story is an act of confession. Stories change as we do.\u201d<\/p>\n

For Korean American Oh, adapting the traditional Korean \u201cTale of Shim Cheong\u201d became the basis of her latest YA novel,\u00a0The Girl Who Fell Beneath the Sea\u00a0<\/em>(2022), her first foray into exploring folklore, after writing dystopic fantasy and contemporary romance. \u201cShim Cheong\u201d includes a determined heroine willing to sacrifice her life to save her family; Oh approached the classic tale as a \u201cjumping start rather than a straight retelling.\u201d Oh\u2019s version features 16-year-old Mina who, unwilling to watch her adored older brother lose his beloved Shim Cheong, replaces herself as the sacrificial bride of the Sea God. Waking in the Spirit Realm, Mina must reunite with her lost soul while figuring out how to save her earthly people.<\/p>\n

Born in New York to Korean immigrant parents, Oh had the privilege of growing up without the pressure of having to differentiate her dual heritage: \u201cIt was a blend of culture, and I felt very proud and safe in my Korean American identity at home, and within myself,\u201d she says. As a child, she had access to Korean myths and folklore through books in translation. She \u201cloved to read,\u201d including \u201ca lot of fairy-tale retellings, like\u00a0Beauty<\/em>\u00a0by Robin McKinley and\u00a0Wildwood Dancing<\/em>\u00a0by Juliet Marillier, and so it was always a dream of mine to do a fairy-tale retelling in a similar vein but with my Korean heritage.\u201d<\/p>\n

Like Kashiwaba and Nguyen, Oh is also adept at nesting stories. She inserts three more Korean-inspired folktales into\u00a0The Girl Who Fell Beneath the Sea<\/em>, \u201cpurposely chosen in order to fit a message Mina is trying to convey in telling those tales.\u201d In combining historical folklore, magical elements, mythological creatures \u2013 including imugi, Korean proto-dragons that she first discovered in a video game \u2013 Oh invents her own myths: \u201cI first and foremost wanted to prioritize that\u00a0Girl<\/em>\u00a0is a fun fantasy novel. I definitely adapted freely and by whim and intuition and genuine love for Korean culture but also my love of the fantasy genre. I took a lot of liberties with the original folktales, but hopefully kept the spirit of all of them.\u201d<\/p>\n


\nWhen is \u201cuniversal\u201d not so?<\/strong><\/p>\n

Folklore and myths provide timeless inspiration because they share a universal appeal regardless of originating background. Kashiwaba, Wong-Kalu, Nguyen, and Oh distilled that universality to create their own resonating narratives; each author chose culture-specific stories that align with their identities. As publishing encourages and supports (even demands) greater cultural respect and awareness, their books would certainly be stamped \u201cauthentic.\u201d And yet that term has become a prominent, sometimes dangerous, buzzword; so, too, has \u201cappropriation.\u201d<\/p>\n

\u201cThe discourse about appropriation is so frequently reduced to questions about who is or is not allowed to write what, and I don\u2019t think that\u2019s the point,\u201d says Nguyen. \u201cCulture shifts and reacts to the people in and around it. It can\u2019t be treated like a calcified artifact.\u201d Both Wong-Kalu and Oh acknowledge, respectively, examples of non-Hawaiian and non-Korean authors whose writings featuring traditional tales were influential to their own exposure: Puakea Nogelmeier, linguistic University of Hawai\u2019i scholar (now retired) for Wong-Kalu, and folklorist Frances Carpenter, well remembered for her global \u201cGrandmother\u201d collections, including\u00a0Tales of a Korean Grandmother<\/em>, which sat on Oh\u2019s childhood shelves.<\/p>\n

\u201cThe oversimplification of discussions around misappropriation hits me, as a diasporic creator, very strangely,\u201d say Nguyen. \u201cMany times over the course of writing\u00a0The Magic Fish<\/em>, I brushed up against this feeling that I wasn\u2019t qualified to write about my own Vietnameseness because I was unfamiliar with the country and the culture as it once was. Was I misappropriating Vietnameseness as an American? Am I less American if I\u2019m committed to exploring my Vietnameseness?\u201d<\/p>\n

\u201cI think that genuine love and reverence for a folktale shows in the telling of the folktale and that usually comes with a connection to the source, which is why I personally enjoy reading adaptations of culture-specific stories from people who share that culture,\u201d adds Oh. A hybrid balance seems to be her sweet spot: \u201cAs a Korean American author who grew up in the West, I also incorporate a lot of Western viewpoints into my storytelling as well, and I think that blend is my unique viewpoint.\u201d<\/p>\n

Published<\/strong>: Cover Story: “Timeless Tales: APA Creators Draw on Myth and Folklore to Craft Personal, yet Universal Stories,”\u00a0School Library Journal<\/em>, May 2, 2022<\/a><\/p>\n

Be sure to find additional folklore-inspired titles at “45 Novels Drawing on Asian Myth and Folklore<\/a>.”<\/p>\n

Photo credits<\/strong>: “Timeless Tales” illustration by Yao Xiao; Trung Le Nguyen by Laura Duholm<\/p>\n","protected":false},"excerpt":{"rendered":"

Welcome to one of the more hope-filled, albeit cautious, Asian Pacific American (APA) Heritage Months in recent history. 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