Rapunzel
The tall format and embossing on the cover make reference to Rapunzel's tower.
I used the concertina format to explore how stories can have different interpretations and how readers can bring their own viewpoint to the narrative. How the viewer folds the book will alter the visible image and can alter its meaning. |
In this book I wanted to explore the traditional story of Rapunzel. I was primarily interested by the relationship between the witch and the girl
This witch is not a stereotypical fairy story witch. She has a name, Mother Gothel (apparently a generic term in Germany usually used to designate a godmother). She doesn’t appear to use magic (spells, incantations etc) in the course of the narrative though she obviously has power, or the peasant family wouldn’t have handed over their daughter. She has enough influence to get away with this and keeping her for twelve years before keeping her locked up for a few more. And she probably has wealth, building a tall tower/castle in the middle of a wood, even in medieval Europe, wouldn’t come cheap.
She presumably cared for the girl. It’s not like the stories of Baba Yaga or Hansel and Gretel where the object was to eat the child. Rapunzel was looked after until she reached puberty then was locked into the tower, presumably to preserve her innocence. The witch, to her way of thinking, was protecting her (medieval Europe not being a particularly safe place for young girls). It makes me wonder about the witches own history.
None of these ideas have been backed up by research. They are purely based on what I know, half remember and have assumed. But given that I was responding to an unread piece of buried writing which in turn alludes to a handed down fairy tale I didn’t feel that the facts needed get in the way of a good story.
This witch is not a stereotypical fairy story witch. She has a name, Mother Gothel (apparently a generic term in Germany usually used to designate a godmother). She doesn’t appear to use magic (spells, incantations etc) in the course of the narrative though she obviously has power, or the peasant family wouldn’t have handed over their daughter. She has enough influence to get away with this and keeping her for twelve years before keeping her locked up for a few more. And she probably has wealth, building a tall tower/castle in the middle of a wood, even in medieval Europe, wouldn’t come cheap.
She presumably cared for the girl. It’s not like the stories of Baba Yaga or Hansel and Gretel where the object was to eat the child. Rapunzel was looked after until she reached puberty then was locked into the tower, presumably to preserve her innocence. The witch, to her way of thinking, was protecting her (medieval Europe not being a particularly safe place for young girls). It makes me wonder about the witches own history.
None of these ideas have been backed up by research. They are purely based on what I know, half remember and have assumed. But given that I was responding to an unread piece of buried writing which in turn alludes to a handed down fairy tale I didn’t feel that the facts needed get in the way of a good story.
Book Art Object Edition 4
Sarah Bodman, was inspired by one of Kurt Johannessen’s Exercises (1994) ( a handbook of tasks that prompt to readers to reflect upon their world), to“write 100 stories and bury them in the forest”. Her 100 stories, collected as An Exercise for Kurt Johannessen (2010), are quietly decomposing in a forest in northern Denmark.
The titles of Sarah’s stories were, with her permission, taken as the starting point for BookArtObject Edition 4
Where the dead live and Raunzel were part of my contribution to this edition
Sarah Bodman, was inspired by one of Kurt Johannessen’s Exercises (1994) ( a handbook of tasks that prompt to readers to reflect upon their world), to“write 100 stories and bury them in the forest”. Her 100 stories, collected as An Exercise for Kurt Johannessen (2010), are quietly decomposing in a forest in northern Denmark.
The titles of Sarah’s stories were, with her permission, taken as the starting point for BookArtObject Edition 4
Where the dead live and Raunzel were part of my contribution to this edition
Copyright 2017 Jac Balmer | All Rights Reserved