Transplanting it to our world only makes sense, with the Jazz Age a setting as suitably dazzling as Basile’s vague fantasy land. In The Girls at the Kingfisher Club, Genevieve Valentine dispenses with the war hero protagonist of “The Twelve Dancing Princesses” and any fantastical elements to focus on the family drama implied in the story: twelve daughters locked up at the behest of their father. Adaptation, after all, is its own criticism-you have to decide what to discard, what to use, and what, to you, is the heart of the story. When you’re retelling a fairy tale, the basic structure is there for you to follow or subvert, forcing you to dig in a little deeper. It’s an extension of my love for the art of adaptation. I can’t speak for everybody else, of course, but I adore fairy tale retellings. With last Friday’s release of Maleficent, an adaptation of an adaptation of an adaptation of Giambattista Basile’s “ Sole, Luna e Talia”, it might be tempting to think that we’ve hit a saturation point for fairy tale retellings. The Girls at the Kingfisher Club by Genevieve Valentine
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