Touch Magic Quotes

“Literature is a textually transmitted disease, normally contracted in childhood.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“A child who can love the oddities of a fantasy book cannot possibly be xenophobic as an adult. What is a different color, a different culture, a different tongue for a child who has already mastered Elvish, respected Puddleglums, or fallen under the spell of dark-skinned Ged?”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“And for adults, the world of fantasy books returns to us the great words of power which, in order to be tamed, we have excised from our adult vocabularies. These words are the pornography of innocence, words which adults no longer use with other adults, and so we laugh at them and consign them to the nursery, fear masking as cynicism. These are the words that were forged in the earth, air, fire, and water of human existence, and the words are:

Love. Hate. Good. Evil. Courage. Honor. Truth.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“Touch magic. Pass it on.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“The tales of Elfland do not stand or fall on their actuality but on their truthfulness, their speaking to the human condition, the longings we all have for the Faerie Other.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“A shadowless man is a monster, a devil, a thing of evil. A man without a shadow is soulless. A shadow without a man is a pitiable shred. Yet together, light and dark, they make a whole.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“Language helps develp life as surely as it reflects life. It is a most important part of our human condition.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“[W]hen the modern mythmaker, the writer of literary fairy tales, dares to touch the old magic and try to make it work in new ways, it must be done with the surest of touches. It is, perhaps, a kind of artistic thievery, this stealing of old characters, settings, the accoutrements of magic. But then, in a sense, there is an element of theft in all art; even the most imaginative artist borrows and reconstructs the archetypes when delving into the human heart. That is not to say that using a familiar character from folklore in the hopes of shoring up a weak narrative will work. That makes little sense. Unless the image, character, or situation borrowed speaks to the author’s condition, as cryptically and oracularly as a dream, folklore is best left untapped.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“In fantasy stories we learn to understand the differences of others, we learn compassion for those things we cannot fathom, we learn the importance of keeping our sense of wonder. The strange worlds that exist in the pages of fantastic literature teach us a tolerance of other people and places and engender an openness toward new experience. Fantasy puts the world into perspective in a way that 'realistic' literature rarely does. It is not so much an escape from the here-and-now as an expansion of each reader's horizons."

"A child who can love the oddities of a fantasy book cannot possibly be xenophobic as an adult. What is a different color, a different culture, a different tongue for a child who has already mastered Elvish, respected Puddleglums, or fallen under the spell of dark-skinned Ged?”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood

“The great archetypal stories provide a framework or model for an individual's belief system. They are, in Isak Dinesen's marvelous expression, 'a serious statement of our existence.' The stories and tales handed down to us from the cultures that proceded us were the most serious, succinct expressions of the accumulated wisdom of those cultures. They were created in a symbolic, metaphoric story language and then hones by centuries of tongue-polishing to a crystalline perfection....

"And if we deny our children their cultural, historic heritage, their birthright to these stories, what then? Instead of creating men and women who have a grasp of literary allusion and symbolic language, and a metaphorical tool for dealing with the problems of life, we will be forming stunted boys and girls who speak only a barren language, a language that accurately reflects their equally barren minds. Language helps develop life as surely as it reflects life. It is the most important part of the human condition.”
― Jane Yolen, Touch Magic: Fantasy, Faerie & Folklore in the Literature of Childhood