The Hare Gets Married And Other Tales

This book is inspired by folktales that my grandmother narrated to me when I was a child. Growing up in rural Zimbabwe, we would sit around the fire in our mud hut after dinner and listen to my grandmothers storytelling long into the night. This book is a collection of different folktales that happened a long time ago, somewhere deep in the forests of Zimbabwe. The folktales sometimes feature some interaction between and among animals and sometimes a combination of animals and humans. The folktales are didactic in nature, thus they often end up depicting important life lessons.

For fans of Alice Hoffman and Kate Morton, The White Hare is a spellbinding novel about mothers and daughters finding a new home for themselves, the secrets they try to bury, and the local legends that may change their lives. In the far west of Cornwall lies the White Valley, which cuts deeply through bluebell woods down to the sea at White Cove. The valley has a long and bloody history, laced with folklore, and in it sits a house above the beach that has lain neglected since the war. It comes with a reputation and a strange atmosphere, which is why mother and daughter Magdalena and Mila manage to acquire it so cheaply in the fateful summer of 1954. Magda has grand plans to restore the house to its former glory as a venue for glittering parties, where the rich and celebrated gathered for cocktails and for bracing walks along the coast. Her grown daughter, Mila, just wants to escape the scandal in her past and make a safe and happy home for her little girl, Janey, a solitary, precocious child blessed with a vivid imagination, much of which she pours into stories about her magical plush toy, Rabbit. But Janey’s rabbit isn’t the only magical being around. Legend has it that an enchanted white hare may be seen running through the woods. Is it an ill omen or a blessing? As Mila, her mother, and her young daughter adjust to life in this mysterious place, they will have to reckon with their own pasts and with the secrets that have been haunting the White Valley for decades.

In affairs of the heart the race is not necessarily won by the swift or the fair. Imogen, the beautiful and much younger wife of distinguished barrister Evelyn Gresham, is facing the greatest challenge of her married life. Their neighbour Blanche Silcox, competent, middle-aged and ungainly - the very opposite of Imogen - seems to be vying for Evelyn's attention. And to Imogen's increasing disbelief, she may be succeeding. 'A subtle and beautiful book ... Very few authors combine her acute psychological insight with her grace and style. There is plenty of life in the modern novel, plenty of authors who will shock and amaze you - but who will put on the page a beautiful sentence, a sentence you will want to read twice?' Hilary Mantel, Sunday Times

"The Hare’s Bride" is a tale about one ambitious and courageous hare who would not take "no" for an answer. He was cheeky enough to eat all the cabbage in the garden, but he also would not leave when he was sent away by the maid. He actually decided to take the maid with him and made her marry him. Do you think it went well for them and was there any marriage at all? Children and adults alike, immerse yourselves into Grimm’s world of folktales and legends! Come, discover the little-known tales and treasured classics in this collection of 210 fairy tales. Brothers Grimm are probably the best-known storytellers in the world. Some of their most popular fairy tales are "Cinderella", "Beauty and the Beast" and "Little Red Riding Hood" and there is hardly anybody who has not grown up with the adventures of Hansel and Gretel, Rapunzel and Snow White. Jacob and Wilhelm Grimm’s exceptional literature legacy consists of recorded German and European folktales and legends. Their collections have been translated into all European languages in their lifetime and into every living language today.

In paying a tribute to the mingled mirth and tenderness of Eugene Field—the poet of whose going the West may say, “He took our daylight with him”—one of his fellow journalists has written that he was a jester, but not of the kind that Shakespeare drew in Yorick. He was not only,—so the writer implied,—the maker of jibes and fantastic devices, but the bard of friendship and affection, of melodious lyrical conceits; he was the laureate of children—dear for his “Wynken, Blynken and Nod” and “Little Boy Blue”; the scholarly book-lover, withal, who relished and paraphrased his Horace, who wrote with delight a quaint archaic English of his special devising; who collected rare books, and brought out his own “Little Books” of “Western Verse” and “Profitable Tales” in high-priced limited editions, with broad margins of paper that moths and rust do not corrupt, but which tempts bibliomaniacs to break through and steal. For my own part, I would select Yorick as the very forecast, in imaginative literature, of our various Eugene. Surely Shakespeare conceived the “mad rogue” of Elsinore as made up of grave and gay, of wit and gentleness, and not as a mere clown or “jig maker.” It is true that when Field put on his cap and bells, he too was “wont to set the table on a roar,” as the feasters at a hundred tables, from “Casey’s Table d’Hôte” to the banquets of the opulent East, now rise to testify. But Shakespeare plainly reveals, concerning Yorick, that mirth was not his sole attribute,—that his motley covered the sweetest nature and the tenderest heart. It could be no otherwise with one who loved and comprehended childhood and whom the children loved. And what does Hamlet say?—“He hath borne me upon his back a thousand times … Here hung those lips that I have kissed I know not how oft!” Of what is he thinking but of his boyhood, before doubts and contemplation wrapped him in the shadow, and when in his young grief or frolic the gentle Yorick, with his jest, his “excellent fancy,” and his songs and gambols, was his comrade? Of all moderns, then, here or in the old world, Eugene Field seems to be most like the survival, or revival, of the ideal jester of knightly times; as if Yorick himself were incarnated, or as if a superior bearer of the bauble at the court of Italy, or of France, or of English King Hal, had come to life again—as much out of time as Twain’s Yankee at the Court of Arthur; but not out of place,—for he fitted himself as aptly to his folk and region as Puck to the fays and mortals of a wood near Athens. In the days of divine sovereignty, the jester, we see, was by all odds the wise man of the palace; the real fools were those he made his butt—the foppish pages, the obsequious courtiers, the swaggering guardsmen, the insolent nobles, and not seldom majesty itself. And thus it is that painters and romancers have loved to draw him. Who would not rather be Yorick than Osric, or Touchstone than Le Beau, or even poor Bertuccio than one of his brutal mockers? Was not the redoubtable Chicot, with his sword and brains, the true ruler of France? To come to the jesters of history—which is so much less real than fiction—what laurels are greener than those of Triboulet, and Will Somers, and John Heywood—dramatist and master of the king’s merry Interludes? Their shafts were feathered with mirth and song, but pointed with wisdom, and well might old John Trussell say “That it often happens that wise counsel is more sweetly followed when it is tempered with folly, and earnest is the less offensive if it be delivered in jest.”

This work is the first document, relating to the practice of Jungian psychology, which records in detail the analyst's own past in the practice of analysis as well as the patients. John Layard sought to bring to psychology the illuminating study of all the humanities. This is an extraordinary and fundamental book.