In 2014, when I began studying fairy tales, I came across Pauline Greenhill’s “‘Fitcher’s [Queer] Bird’: A Fairy-Tale Heroine and Her Avatars,” an academic article that offers a queer reading of “Fitcher’s Bird,” my favorite Grimm fairy tale. The article has deeply influenced my thinking and writing on fairy tales and so I was thrilled when, after sending off an email to Greenhill, she agreed to an interview.
Greenhill is Professor of Women’s and Gender Studies at the University of Winnipeg, Manitoba, Canada. Her most recent book is Screening Justice: Canadian Crime Films, Culture and Society, which was co-edited with Steven Kohm and Sonia Bookman, and published in 2016. She also co-edited Fairy-Tale Films Beyond Disney: International Perspectives with Jack Zipes and Kendra Magnus-Johnston in 2016; Unsettling Assumptions: Tradition, Gender, Drag with Diane Tye in 2014; Channeling Wonder: Fairy Tales on Television with Jill Terry Rudy in 2014; Transgressive Tales: Queering the Grimms with Kay Turner in 2012; and Fairy Tale Films: Visions of Ambiguity with Sidney Eve Matrix in 2010. She is the author of Make the Night Hideous: Four English Canadian Charivaris, 1881-1940 (2010). She has fairy-tale research published in Feral Feminisms; Law, Culture and the Humanities; Marvels & Tales; Narrative Culture; Studies in European Cinema; and Theoretical Criminology among others.
There’s a storied tradition of studying fairy tales through a feminist lens, but you take that work further, examining queerness in fairy tales. How did you find your way into this field of research?
Absolutely my queer/trans research is an extension of my feminist research! But my route to queer and trans fairy tales was circuitous. I started a masters in Folklore at Memorial University in St. John’s, Newfoundland in 1977. At the time, and to a sad extent now, the cool kids avoided traditionally recognised forms of folklore like ballads and fairy tales. Trying to be one of them, I did my masters thesis on family photography.
However, when I got to the University of Texas at Austin in 1981, where I did my PhD, I worked with Roger deV. Renwick, a ballad and folk song scholar who has always been an advocate for studying traditional genres (see e.g. Renwick 1980 and 2009). So for my PhD dissertation on folk poetry in Ontario under Roger’s supervision, I was looking for the old in the new, as it were (Greenhill 1989).
After five years teaching Canadian Studies at the University of Waterloo, I came to the University of Winnipeg’s (then) Women’s Studies program in 1991. (We’re now a Department with six full time faculty and we’ve included “and Gender.”) At the time I was working on Newfoundland ballads about women who dress as men to follow their lovers or seek adventure as sailors, soldiers, or robbers. You can listen to one example here, sung by the fabulous Newfoundland traditional source singer Anita Best on the compilation album Bristol’s Hope–Lately Come Over. Hitherto folklorists’ readings assumed that these songs were about men and their experiences, and my feminist reading asserted that they were also about women.