TWISTED FAIRY TELLS

In Moore’s sequel fantasy collection, a family protects true stories disguised as popular fairy and folktales.

The Wellingtons have dedicated generations of family members to being “Keepers of the Tales.” These historians and anthropologists know the truth behind stories that the world has written off as fiction. Nowadays, Charles Wellington III safeguards their library of works, but it was his great-great grandfather Charles Wellington I who stumbled onto a life-changing artifact. He and a colleague unearthed part of a mysterious linen canvas inscribed with an ancient language, and he scoured far-off places, such as Turkey, for the remaining fragments. About a third of the 14-story collection centers on the first Charles as he searches for hidden truths in the canvas and runs into the enigmatic “Guardians.” The rest consists of tales that the later Charles has amassed. The first two, “Beauty…and the Beastly Prince” and “Sleeping Beauty,” have a surprising link: fairy sisters—a queen and her evil older princess sibling—who feud for years, hurting themselves as well as their children in countless ways. Others sport similar titles that make the fairy-tale or folklore source immediately apparent and follow those earlier narratives closely. In “Margaretha and the Seven Dwarfs,” Count Philip sends his daughter, whom he affectionately calls Snow White, out of Germany, afraid that his wife will do something terrible to his daughter. This collection aptly bookends the final tale with the prologue and resolves the first Charles’ plotline, with plenty more of the Wellingtons’ backstory left for another book.

As in his preceding collection, Twisted Fairy Tells: The Untold Truths (2021), Moore offers serious but occasionally playful interpretations. For example, “Jack” features the titular hero and the famous beanstalk only for the latter half of the story to dive deep into his family’s genuinely engrossing history. In the fun “Jack Frost,” the Arctic-dwelling protagonist revels in his specialty of “ruining anyone’s day” and bumps into another, decidedly more sinister character from folklore. The author occasionally enhances stories with real-world links; there are nods to the bubonic plague epidemic, and one tale deftly incorporates a 14th-century witch trial in Ireland along with the bishop involved and an accused woman. Although the collected tales take some unexpected turns, they’re not always as twisty as the book’s title suggests. “Cinder Ella” is entertaining but relatively light and not nearly as dark or memorable as the version by the Brothers Grimm. The fairy-tale variations, like the originals, are quick reads, as Moore writes character-driven narratives with impressive conciseness. On the other hand, the first Charles’ leisurely paced multistory journey retains a sense of ambiguity until he finally pieces the artifact together. It continually intrigues, though, even if the mystery of his dead friend is no mystery to readers. Unfortunately, most fairy tales open with the later Charles’ brief thoughts that offer morals that readers could have figured out on their own. Still, this is a minor complaint about an otherwise solid collection.

An often engaging set of celebrated literary works with fun twists.