My aim, therefore, in this article, is to examine adaptations that privilege race and/or class by three African American artists to understand how they make the tales new for the Black American audience, a community within which the authors locate themselves. Other adaptations, such as Pinkney’s (2007) Little Red Riding Hood, The Nightingale (2002), The Little Match Girl (1999), and The Talking Eggs (1989) have centered race and class expanding the readership of these tales of European origin however. For instance, we are all familiar with popular retellings of fairy tales such as Grimm Brothers’ (1812) “Rapunzel” (Donna Jo Napoli’s Zel (1998) and Disney’s Tangled (2010)), and James Halliwell-Phillips’ (1886) “The Three Little Pigs” (Jon Scieszka and Lane Smith (1996), The True Story of the Three Little Pigs Trivizas and Oxenbury’s (1993) The Three Little Wolves and the Big Bad Pig-adaptations that emphasize points of view to offer narrative alternatives to otherwise traditional tales with limited interpretative possibilities that take into considerations mainly the psychological wellbeing of the White western child. Traditional publishers are also publishing more adaptations of classic fairy tales, just like film producers are producing movies based on these same tales as such, they are expanding the options of narratives from which readers/viewers can choose. With the Farmer came his Lapdog, who danced about and licked his hand and frisked about as happy as could be.The practice of adapting tales for various reasons thrives even more so today than ever given the easy access to social media platforms and to vanity presses that allow authors to self-publish. ‘This is a double death,’ growled the Lion.Ī Farmer one day came to the stables to see to his beasts of burden: among them was his favourite Ass, that was always well fed and often carried his master. When they saw him on the point of death they thought to themselves: ‘Now is the time to pay off old grudges.’ So the Boar came up and drove at him with his tusks then a Bull gored him with his horns still the Lion lay helpless before them: so the Ass, feeling quite safe from danger, came up, and turning his tail to the Lion kicked up his heels into his face. The animals, his subjects, came round him and drew nearer as he grew more and more helpless.
A Lion had come to the end of his days and lay sick unto death at the mouth of his cave, gasping for breath.
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