The Buried Moon cover

THE BURIED MOON is set for release in March 2019 and it’s all systems go behind the scenes. This week, we saw the final cover – here it is:

Buried Moon front cover v4

It’s gorgeous!

Side by side with Vasilisa, it looks amazing.


The next five months are sure to fly past in a whirl of designing, proofreading and more.

Here’s a summary – final blurb to come:

Fairy tales are as old as language itself.

In the beginning, such tales of wonder were told by a storyteller to an audience, in the darkness of a long winter to while away the hours, in a marketplace to amuse and beguile the passerbys, to young men and women about to set forth on their life’s journey, to teach and warn and to give them the tools they needed to survive.

The motifs and metaphors of these stories created a universal language that all humans share. For each culture has its own myths, folklore and fairy tales, and many of them are strikingly similar despite the vast distances that separate those that told the tale.

All of the seven tales in this collection have one thing in common. They are stories of young women who face darkness and danger, but who prevail against the odds because of the brightness of their spirit and the strength of their resolve.

One outwits a giant and saves her sisters. Another stays silent for seven years and weaves cloth from nettles to save her brothers. Yet another holds fast to her beloved, despite all that the cruel enchantments the fairy queen casts upon him.

We hope these stories of bright young women will help you know that you carry your radiance inside you, and you have the power to illuminate the whole world.

The Buried Moon & Other Tales of Bright Young Women will transform the way you think about fairy tales.

Introducing Mary de Morgan

This article written by Kate Forsyth was first published on and is reproduced here with permission because it relates to one of the stories featured in Vasilisa the Wise (‘The Toy Princess’).

Ask anyone for the names of the great fairy tale tellers, and most people will answer Charles Perrault, the Brothers Grimm and Hans Christian Andersen.  A few may summon up the names Andrew Lang, Oscar Wilde or George Macdonald.  But hardly anyone will mention Mary de Morgan, Pre-Raphaelite, suffragette, and one of England’s first feminist fairy tale writers, even though her literary fairy tales were as beautiful, strange and eerie as any told by the famous meabove.

‘Help me, sweet Love!’ she cried, and then began to weep.
‘Poor Queen Blanchelys!’ said Love. ‘Your rose-tree is dead then.’
‘My tree is dead,’ sobbed Queen Blanchelys, ‘and the King loves me no more. Ah, tell me who has killed my tree?’
‘Your cousin Zaire has killed it,’ said Love. ‘She asked Envy to help her, and Envy has given her a viper, which she laid at the tree’s roots, and it has spat its deadly venom on to the red heart (of the rose) … and killed it.’
‘Tell me, then, how to make it live again,’ gasped the Queen.
‘There is only one thing in the world that can do that!’ said Love.
‘And what is that?’ asked the Queen.
The blood from your own heart,’ said Love.
— ‘Seeds of Love’, On A Pincushion & Other Fairy Tales (1877), Mary de Morgan

Mary de Morgan was born in London in February 1850, a month of wild storms in which windows were broken by hail, slates were torn off roofs, chimneys were blown down, and ships were wrecked upon the shore. She was the youngest daughter of the brilliant mathematician Augustus de Morgan and his wife Sophia, who was tutor to Ada Lovelace, the daughter of Lord Byron and an accomplished mathematician herself.

When Mary was three years old, her sister Alice died from measles at the age of 15. This great sorrow drew her mother into spiritualism, and she began to hold séances in her home and to attend lectures and demonstrations by mediums. At the age of six, Mary began to dream about Alice, seeing her playing in a garden attended by doves and haloed with gold. Her mother Sophia began to record Mary’s dreams and other psychic occurrences (including Mary’s uncanny ability to tell people’s futures from reading their palms). Sophia de Morgan’s book, From Matter to Spirit: The Result of Ten Years’ Experience in Spirit Manifestation, was published in 1862, when Mary was thirteen. It is one of the seminal work on spiritualism in Victorian times.

A year or so later, Mary and her favourite brother, William de Morgan, met William Morris and were drawn into the circle of Pre-Raphaelites. William de Morgan eagerly adopted the principles and philosophies of this group of free-thinking bohemians, and became a famous potter, designer and novelist.  Mary and her brother were frequent guests at the Morris home, and were well acquainted with Edward Burne-Jones and his family, and with Christina Rossetti and her artist-brother, Dante Gabriel Rossetti.

Mary was known for her boldness and outspokenness. She once told the landscape artist Henry Holiday: ‘All artists are fools! Look at yourself and Mr. Solomon.’  Agnes Poynter, Georgiana Burne-Jones’s sister, wrote of her at the time: ‘She chattered awfully, and Louie, she is only just fifteen. I believe a judicious course of snubbing would do her good!’

Mary’s mother Sophia was an early campaigner for women’s rights, attending meetings and marches, and signing the famous petition of 1866. From the age of sixteen, Mary was active in the suffragette movement too, and was also involved with her mother in the fight against animal cruelty.

Her family were sadly riddled with consumption, and in Mary’s late teens she lost her brother George, her sister Chrissie and her father. Sophia and Mary moved in with William in his rather ramshackle artist’s lodging, and Mary began to write stories of her own. Her first publication was in 1873, a collection of stories co-authored with a female friend, Edith Helen Dixon, and entitled Six by Two: Stories of Old Schoolfellows.

In 1873, at a Christmas party at the Burne-Jones’s house in Kensington, Mary entertained the children by telling them fairy tales. Her audience included Jenny and May Morris, Philip and Margaret Burne-Jones, and their cousins, Rudyard and Alice Kipling, and Angela and Denis Mackail.  The children were enchanted and kept begging her for more. Mary wrote down the stories she told them, and these were published in 1877 under the title On A Pin-Cushion, when she was just twenty-seven.


Illustration by Walter Crane, from the literary fairy tale ‘The Wise Princess’ by Mary de Morgan Source

Some of the tales in this collection are just extraordinary. There’s ‘The Story of Vain Lamorna’, a pretty girl who is badly scarred in her quest for beauty and only then realises the emptiness of vanity; ‘The Seeds of Love’, a tragic tale of love gone wrong; and ‘The Toy Princess’, a subversive tale about a princess whose fairy godmother rescued her from the stifling etiquette of the royal court and replaced her with a robot-princess who only spoke a few stock polite phrases. The real princess is brought up by a fisherman and his family and learns the value of hard work and true love.  I love this last story of Mary de Morgan’s in particular, and retold it for my collection of feminist fairy tales, Vasilisa the Wise & Other Tales of Brave Young Women, (illustrated by Lorena Carrington & published by Serenity Press).

Another fairy tale collection, Necklace of Princess Florimonde, was published in 1880. The stories show her strong liberal philosophies, with tales like ‘The Bread of Discontent’ illuminating the evils of poor-quality mass-produced goods, in contrast to the loving work of artisans and craftspeople.

In 1887, Mary’s brother William married another artist, Evelyn Pickering, who (under her married name, Evelyn de Morgan) became one of the most accomplished (and mystical) painters of the later Pre-Raphaelite movement. Mary had to move out and live on her own, supporting herself as a typist while she continued to write. Her tragic novel of social realism, A Choice of Chance, was published in that same year.  Her friendship with William Morris continued to deepen, and she became involved with his activities with the early British socialists. She undertook social work in East End slums, attended suffragette rallies, and in 1899, joined Emmeline Pankhurst’s ‘Women’s League’.

In 1898, she was one of the few people admitted to William Morris’s bedchamber as he lay dying of tuberculosis. She helped nurse him and told him stories to keep him entertained, and helped his wife Jane and daughter May embroider the famous bed-hangings which can now be seen at Kelmscott Manor.  In 1900, Mary’s last book The Wind Fairies and Other Tales was published, and five years later she went to Egypt to run a reformatory school for girls. She died in Cairo in 1907, of tuberculosis.


Illustration by Walter Crane, from the literary fairy tale ‘The Wise Princess’ by Mary de Morgan Source

In 1963, Victor Gollanz published The Necklace of Princess Fiorimonde – The Complete Fairy Stories of Mary de Morgan, with an introduction by Roger Lancelyn Green. Mary is quoted as saying: I am so thankful I have only a small income – it is so delightful planning things and deciding what one can afford. It would bore me to death to be rich!’

I find the life and work of Mary de Morgan utterly fascinating. I badly wanted to tell her story in my novel, Beauty in Thorns, inspired by the lives of the Pre-Raphaelite sisterhood, but in the end her chapters ended up on the cutting-room floor. Maybe one day I will turn them into a novel!

It has been suggested that Mary de Morgan’s stories have been forgotten because she was a woman, and certainly her feminism was radical and confronting for the times in which she lived.  It may also be because many of her tales ended tragically, eschewing the traditional ‘happy ever after’ denouements of classic fairy tales.  Not all stories end happily, however, and there is something so powerful and sorrowful about Mary de Morgan’s struggle to change the world through her storytelling.

‘Then she kissed him softly thrice, and bid him adieu, and went out of the palace to her dear rose-tree in the garden. It was nothing now but a bare black stump. So Queen Blanchelys lay down on the ground, and put her arms round the trunk, and from the dead branch she tore a long smooth thorn, and pierced her heart with it, and the drops of blood trickled to the roots of the tree, and at once the serpent at the roots shrivelled and died, and the tree again began to bud and sprout.

When the King awoke in the morning the first thing he saw was the Queen’s letter, and he took it and read it at once, and as he read his cheeks turned pale, and he sighed bitterly, and then he called his courtiers, and told them what had happened, and they all went out into the garden to the rose-tree, under which lay dead poor Queen Blanchelys.

But the tree which before was only a piece of dead wood was covered with green leaves and rose-buds.

The King kissed the Queen’s pale face, and ordered that there should be a grand funeral, and that she should be buried under the rose-tree, and from that day forth the King thought of no-one but Queen Blanchelys … but Zaire was stripped of all her fine dresses and jewels … and was banished from the land, and had to beg her bread for door to door.

But when the rose-tree burst into bloom, the roses which were white before were as red as the blood which sprang from the Queen’s heart …’

— ‘Seeds of Love’, On A Pincushion & Other Fairy Tales (1877), Mary de Morgan

To read a  story from Kate Forsyth, ‘Dreams of the Dead’, a secret chapter from her novel Beauty in Thorns, shared exclusively with Folklore Thursday, click here.

Baba Yaga Books

The Baba Yaga is one of my favourite mythic characters, and she seems to be making a bit of a cultural reemergence, so I thought I’d share a few contemporary books where she plays a starring role.

Out recently is Sophie Anderson’s wonderful The House on Chicken Legs. I loved it so much. It’s a delightful and moving take on the role of the Baba Yaga, and explores the finding your own path in life, despite what others may have planned for you! It’s aimed at a middle grade audience, but I think you should buy a copy for a young person in your life, and one for yourself too.


Jane Yolen’s Finding Baba Yaga is due out in October 2018, and if you’ve read any of her other work, you know it’s going to be good. If Tor would like to send me a review copy, I would not complain. Hint Hint.


Baba Yaga Laid an Egg is a novel that explores women, ageing and feminism, based around the Baba Yaga myth, and involves “a gambling triumph, sudden death on the golf course, a long-lost grandchild, an invasion of starlings, and wartime flight.” Yes please.


Baba Yaga is a book I’ve been coveting for years. It’s a collection of twenty nine Baba Yaga tales, accompanied by information about the different tales and their history, and illustrations from artists spanning 200 years. Unfortunately as an academic book, it’s pretty pricey. One day…


While we’re on academic texts, a friend of mine stumbled across this book on the Baba Yaga in the op shop! And even better, she gave it to me! A good friend is one who will stumble across rare academic texts and think of you… It’s a dense exploration: small type and lots of pages, but don’t let that turn you off. It’s an incredibly comprehensive deep-dive into Baga Yaga’s history and folklore.


Ask Baba Yaga is based on a fantastic advice series that featured on The Hairpin. I’ve included an example below. Baba Yaga as Agony Aunt? What could be better?


Baba Yaga’s Assistant looks fantastic. A graphic novel, it looks both delightful and just the right amount of terrifying:

…The fearsome witch of folklore needs an assistant, and Masha needs an adventure. She may be clever enough to enter Baba Yaga’s house on chicken legs, but within its walls, deceit is the rule. To earn her place, Masha must pass a series of tests, outfox a territorial bear, and make dinner for her host. No easy task, with children on the menu!


Another graphic novel, this time for more of an adult audience, I’m off to order a copy of Baba Yaga and the Wolf as soon as I finish this post. The art is beautiful:

Visually influenced by the dense forested landscape of British Columbia, Baba Yaga and the Wolf tells the story of Katerina and the journey she takes to the edge of the Underworld and its gatekeeper, Baba Yaga, in order to save her husband Ivan from a terrible fate.


And of course, our very own Vasilisa the Wise and Other Tales of Brave Young Women. Vasilisa is soon to be released as a paperback. Yay! You can pre-order your copy here.



Do you have an favourite books that feature the Baba Yaga. We’d love hear about them!

The Making of a Dress

I spent much of last week making a dress. The best thing? I didn’t even need a sewing machine. The worst? I can never wear it, and I really want to!

Kate and I are working on the follow-up to Vasilisa the Wise, and I’m in the wonderful phase of dreaming up new illustrations. I couldn’t resist throwing myself into the most complicated one I’ve thought up so far. It requires a dress, embroidered all over with blue roses.

My first task was to visit my mum. My parents live in her family home, which has been passed down through several generations, through the maternal line. I grew up in that house, as did my mother (and her sister) and her mother before her. It was knocked down and rebuilt into its current incarnation in 1946 after my grandparents were married – so my grandmother grew up in the old house, but the ‘new’ one reused the old window and door frames. We all went to the same primary school, walked the path down to the shops, and looked out over the same valley of lights at night.

So, with all that history, I knew I’d find a treasure trove of lace and embroidered linens. I needed roses, so we pulled great piles of linen out of the hallway cupboard. I sorted through them and found 20 or so pieces that would work for what I needed. Aren’t they lovely?


The stories behind many of them are lost to time, but they are a lovely connection to my family’s history.

When I brought them home, I photographed them all, in their entirely and in detail.


Then into Photoshop we go… I started by isolating the design and removing the background, which is more complicated than it looks, especially when working on pieces with a deep fabric weave. Several of them required a steady hand, as I drew around the stitched design. Once they were selected out and put against a clean white background, I converted them to black and white, and changed to colour balance to turn them all a different shade of blue.

There was a lot of lace too. I photographed those on a black background, darkened the exposure and dialled up the blue.

As I went, I placed each one onto a silhouetted photograph one of my own dresses. To make it clearer, I recorded a screen cast of some of the process. This is taken from a few sessions of the digital process, sped up by 20,000%! If only I worked this fast.

It took me two full days to get this far. The illustration is far from finished, but just making the dress feels like a good achievement. The dress itself may change a little for the final illustration, but here it is for now: several generations of everyday history rewoven into a new life.

Screen Shot 2018-04-23 at 4.52.11 pm



Since the release of the Limited Edition hardcover edition of Vasilisa the Wise and Other Tales of Brave Young Women in December, this gorgeous book has spread her wings. The limited edition is now sold out and we are awaiting a new shipment of the softcover edition.

The reviews have also been flying in – you can check out reviews here.

(You can still order your copy, but you’ll just have to wait a little for it to be delivered).

In the meantime, we are thrilled that the US/CANADA rights for Vasilisa the Wise and Other Tales of Brave Young Women have been sold – the North American edition will be on shelves in 2019. Congratulations to Kate Forsyth and Lorena Carrington and a MASSIVE thank you to Natasha at The Rights Hive for making this sale for us.

Vasilisa the Wise was one of the stars at the recent Perth Festival Writers Week. In fact, it was the second top selling book over the weekend and we sold out within two hours!

To see a book born of serendipity be embraced like this fills our hearts with joy. Read more of how the Perth Writers Week went here.

While at the festival, Kate was interviewed by Richard Fidler for ABC In-Conversations. Listen to that podcast here – it’s terrific!

Kate and Lorena are now about to start a Schools Tour in New South Wales. And finally, here’s a snippet from a review in ENTHRALLED MAGAZINE that seems a good point to end on:

“We have the magical union of storyteller Kate Forsyth, artist Lorena Carrington and Serenity Press, to thank for this special publication. It brings the feminist origins of long-forgotten fairy tales, from all over the world, to life.”


The Teens of Fairy Tales

Sometimes we forget that most protagonists of fairy tales are actually teenagers.

While they’re out-foxing witches, rescuing each other from suspect entrapments and certain death, or heading out on near-impossible quests, they must also be battling raging hormones, crippling self doubt, and huge never-before-felt emotions.

What if, at the end of the day, they pulled out their phone to catch up, debrief, and keep each other real. Monique Mulligan wondered this. Check out the video of her hilarious text conversation between Vasilisa and Snow White.

Screenshot 2018-01-29 17.34.33

And I wondered what their text speak acronyms would include (yes I’m old – I’m sure there’s a cool teen term for this) and came up with this short handy guide:

Is your teenager texting about fairy tales? 

OMG: Old Mother Gothel
WTF: Watch The Forest
ATM: At The Mirror
BRB: Braiding Rumpelstiltskin’s Beard
AFAIK: Ariel’s Found Another Island King 🙄
BTW: Bribe The Wolf
BYOB: Baba Yaga’s Out of Bacon!
ASAP: As Strong As a Princess
Screenshot 2018-01-29 17.28.05

With apologies to Arthur Rackham


Have you ever wondered what your favourite fairy tales characters got up to in their downtime? Let us know.

The history of Vasilisa


This week Vasilisa the Wise & Other Tales of Brave Young Women is finally launched into the world.

To celebrate I thought I would explore the history of the titular tale, which is one of the best-known and best-loved Russian fairy-tales. An old oral tale, it was transcribed by Alexander Nikolayevich Afanasyev between 1855-67 and first published in his collection, Russian Fairy Tales.

There are many different versions of the story, many of which are called ‘Vasilisa (or Vassilisa) the Beautiful’. I deliberately chose the title which did not focus on the heroine’s beauty but rather on her wit and wisdom.

In nearly all of the tales, a young woman is sent by her cruel step-mother to fetch fire from Baba-Yaga, a terrifying witch who lives in the midst of a dark forest and rides about in a giant iron mortar (a bowl for grinding food), which she steers with a pestle (the grinding tool).

Baba-Yaga lives in a house with chicken legs and is known to eat children. The hut has a life of its own. It walks about, spins in circles, and emits bloodcurdling screeches. A fence made of human bones surrounds the hut, topped with skulls whose blazing eye sockets light up the forest.

There are many stories about Baba-Yaga in Slavic myths. The very earliest ones refer to her as ‘Snake-Baba’. In pre-Christian mythology, snakes were not seen as evil. They were instead powerful emblems of rebirth and transformation, since they shed their old skins for new. Snakes was therefore seen as wise and powerful beings that had much to teach about the natural cycles of time and the seasons.

It is thought that the term ‘yaga’ is a corruption of the Russian words ‘uzkii’ which means ‘narrow’ or ‘snakelike’, and ‘uzh’ which means ‘grass-snake’, both developing from the Old Slavic word ‘ужь’.

The same old Slavic word led to the Latin words ‘anguis’ (snake), ‘anguinus’ (pertaining to a snake), and ‘angustus’ (meaning to squeeze or tighten like a snake), which interestingly enough also led eventually to the English word ‘anguish’.

The word ‘baba’ is linked to ‘babushka’, which means grandmother, but in its shorter form means simply any woman, young or old.

So in the earliest tales, Baba-Yaga is not a figure of evil, but rather a wild, dark, wise figure whose role is to help the heroine change and grow.

Once upon a time, older women were seen as ‘crones’, the keepers of wisdom and tradition for the family or clan. These wise women were thought to understood the mysteries of birth, life and death. Often they were healers and midwives, who brought babies into the world and cared for those who were dying.

Baba-Yaga contains within her these wise old women, as well as later ideas of witches as ugly and evil.

Her links to nature and the cycle of time are emphasised by her servants, the White Horseman, the Red Horseman and the Black Horseman, who she calls, ‘My Bright Dawn, my Red Sun and my Dark Midnight’ because they control daybreak, sunrise, and nightfall.

Vasilisa comes to her hut searching for fire, which symbolically means the light of wisdom. She has to endure a series of trials and tribulations, but is helped in her quest by the little wooden doll given to her by her dead mother. The doll symbolises the ancient maternal wisdom of the crone, but is also Vasilia’s own intuition, helping her find her way.

Dr Clarissa Pinkola Estés interprets the story of Baba-Yaga in her seminal work on fairy-tales, Women who Run with the Wolves. She wrote:

To my mind, the old Russian tale “Vasalisa” is a woman’s initiation story with few essential bones astray. It is about the realization that most things are not as they seem. As women we call upon our intuition and instincts in order to sniff things out. We use all our senses to wring the truth from things, to extract nourishment from our own ideas, to see what there is to see to know what there is to know, to be the keepers of our own creative fires, and to have intimate knowing about the Life/Death/ Life cycles of all nature – that is an initiated woman.

Stories with Vasalisa as a central character are told in Russia, Romania, Yugoslavia, Poland and throughout all the Baltic countries. In some instances, the tale is commonly called “Wassilissa the Wise.” I find evidence of its archetypal roots dating back at least to the old horse-Goddess cults which predate classical Greek culture. This tale carries ages-old psychic mapping about induction into the underworld of the wild female.’

I certainly see the tale as one of female liberation. Vasilisa journeys from a position of childlike submission to one of strength, wisdom and independence. The little wooden doll advises and supports her, but Vasilisa herself must choose what actions to take.

Step by slow step, she turns from a girl into a woman. She sheds her old skin and is reborn.