Category Archives: Tales /märchen

Stories which are not regarded as possibly true.

Text: In the quaint British village near Durham, the ‘Wald Inns’ hotel harbors a chilling tale from the 1980s. A girl’s tragic end in room 212 spawned a series of inexplicable fatalities, sealing the room’s fate and the hotel’s closure within a mere month. Whispers abound that her spirit lingers, eternally confined to that very room.

Context: While sharing eerie stories one evening, my friend from a serene British village recounted the haunting history of ‘Wald Inns.’ The hotel, once bustling, became the stage for a harrowing narrative in the ’80s when a young girl’s life ended in despair in room 212. This event marked the beginning of a terrifying pattern: subsequent guests of the room never emerged alive. The sequence of mysterious deaths led to the hotel’s swift shutdown. Today, the abandoned ‘Wald Inns’ stands as a spectral reminder, with locals firmly believing the girl’s spirit remains, eternally wandering within the walls of room 212.

Analysis: The haunting history of the ‘Wald Inns’ hotel in room 212, where a young girl’s tragic demise led to a series of unexplained fatalities, transcends mere ghostly folklore. This narrative, deeply ingrained in the local community’s consciousness, reflects a collective engagement with themes of loss, the afterlife, and the quest for understanding beyond the tangible. As Domino Renee Perez highlights, folklore figures like the girl’s spirit in room 212 wield power through their actions, often leaving a lasting impact on cultural memory and communal identity (Perez 155). The tale of the ‘Wald Inns’ serves not just as a chilling story but as a cultural expression that probes the boundaries between life and death, invoking questions about justice, remembrance, and the unseen forces that linger in our midst. It embodies a communal narrative that navigates the complexities of human existence and the mysteries that defy explanation, serving as a poignant reminder of the past’s enduring presence in the collective psyche.

Text: In Dalit Tradition, you are supposed to place the mandir (temple) in the southwest direction of the house.

Context: When my friend’s brother was crafting his home, he wove in the ancient wisdom of Vaastu Shastra, a revered Indian ethos aligning architecture with cosmic energies for harmony. In a mindful move, he placed the sacred mandir facing the southwest, as advised, ensuring a home cradled in positive vibrations and prosperity, a testament to Indian traditions. He was talking about how his family believes in Vaastu as they consider the placements of each parts of the house as “important parts in deciding the house’s energy.”

Analysis:

The placement of the mandir (temple) in the southwest direction of a house, adhering to Vaastu Shastra principles, reflects a deep-rooted cultural and spiritual ethos within Indian tradition. This architectural practice transcends mere structural design, embodying a holistic approach to living that aligns with cosmic energies for harmony and prosperity. Such practices resonate with Ülo Valk’s observation that folkloric entities and practices are “shaped by the perspectives…of storytellers” (Valk 31), suggesting that these architectural choices are infused with cultural narratives and wisdom passed down through generations.

This mindful integration of the mandir within a home’s architecture speaks to the historical and cultural significance of sacred spaces in Indian tradition. It echoes Domino Renee Perez’s insight that folklore and cultural practices wield power by making “often incomprehensible and at times contemptible choices” (Perez 155), highlighting a deep-seated reverence for tradition and unseen cosmic forces. The adherence to Vaastu Shastra in modern living represents a dialogue between tradition and modernity, anchoring individuals within a continuum of time-honored practices and offering a sense of continuity amidst contemporary life. In essence, aligning a home according to Vaastu Shastra principles, particularly in the placement of sacred spaces, is a manifestation of the enduring influence of spiritual traditions in shaping personal and communal environments. It illustrates a worldview that regards the home as a microcosm of the universe, where directions and spatial arrangements are imbued with deeper meanings, thus integrating the sacred into everyday life and maintaining a vibrant connection with cultural heritage.

Text: If you pass a sharp object such as a knife or scissor without placing it on a flat surface, it means a bad omen

Context: “Anytime I go back home to India and I’m passing cutlery or like silverware to my friends, specifically a knife or a sharp object, they always tell me to place it on a flat surface or like a surface before they take it, just because if I pass it to them directly, there’s a myth that I’m gonna have a fight with them or they’ll walk out of my life or something bad and negative will happen to them.” This is what my friend told me when I interviewed him. He’s Indian and his friends back home believe in this, but although he doesn’t believe in this, he’s forced to follow this tale. On the positive side, he said that his friends’ beliefs about this make him question if there is “another force in the universe.”

Analysis: This folklore tale delves into deep cultural and interpersonal dynamics. This practice, while seemingly rooted in superstition, underscores a broader cultural wisdom emphasizing caution and respect in human interactions. It resonates with Ülo Valk’s insight that folkloric entities are “shaped by the perspectives…of storytellers” (Valk 31), suggesting that such tales reflect communal values and the social fabric of a culture. Similarly, Domino Renee Perez’s observation that folklore figures like La Llorona “wield power by making often incomprehensible choices” (Perez 155) highlights how folklore governs individual actions, even beyond personal belief. This tale, therefore, is more than a superstition; it’s a ritualistic expression of mindfulness and a nod to the collective wisdom that guides social conduct. It connects individuals to their cultural heritage, fostering a sense of continuity and respect for the unseen forces that shape human relationships. Moreover, this tale interestingly highlights the permeation and resilience of cultural beliefs through social networks and friendships, even among individuals who may not personally subscribe to these beliefs. My friend’s adherence to this practice, despite his skepticism, underscores the compelling nature of cultural norms and the respect for the beliefs of others within one’s community.

Greek Mountain Village Tale

Text: In the remote mountain villages of Greece, connected by deserted roads, there’s a tradition: when faced with the unfamiliar, one should make the sign of the cross. A young woman was traversing these paths alone, a rarity as custom dictates that she should be accompanied by a male relative. Along her journey between two villages, she stumbled upon an infant. Initially, she felt no need for the protective ritual because it was only just a child. However, instinct prevailed, and she made the sign of the cross just before touching the baby. To her astonishment, the infant spoke in a chilling tone, revealing itself as a demon. It confessed that had she not performed the sign, it would have taken her to hell.

Context: When he was 12 years old, the informant  heard a story during a coffee hour following a Greek Orthodox church service. An elderly Greek woman, who had grown up in a small village but now lived in the Bronx, shared the tale, alternating between Greek and English. His mother helped translate parts of it for him. He noted that he hates the story and thinks it is “hickish” and backwards. He thinks that it’s very uneducated and the type of thing you would hear in a small town. As a Christian he doesn’t like that type of superstition/ fear element being connected to his faith.

Analysis: This story reflects the deep rooted christian beliefs held by those communities and their diaspora here. Greece has one of the highest rates of Orthodox Christianity in the world and when isolated in small mountain villages, stories like that definitely will arise. I think it reflects the dangerous conditions of the time, the informant specifically made sure to point out that the woman shouldn’t have been traveling alone because it was too unsafe but she was anyway. At the time in these tiny villages The churches were the sources of protection and knowledge for the people living there, and this story reflects that they listen to the Church’s authority. 

“Noah Body” (Tale)

“My dad would tell me [ever since I was young] about this guy who was kidnapped by a huge cyclops. – He’s super scared and wants to make his escape but the cyclopes won’t let him go, so what happens is that he begins to befriend the cyclops, until the cyclops asks him for his name, and he answers “Noah Body”. He then goes and attacks [the cyclops] by stabbing him in the eye- but when the cyclops in in pain and runs to tell another cyclops what the man did and says ‘Noah Body hit me! Noah Body hit me!’ the other cyclops is slow to react asking ‘What do you mean nobody hit you? What’re you talking about?’ and the man was able to make his escape.”

This story was told to my informant by her father repeatedly in her youth. At the time, she considered it as something that entertained her, but as she grew into the story she realized, “It was about cunning and wit – my dad tried to use it as a lesson on being smart and how to cleverly get yourself out of situations.”

Her father would recite this colorful story to encourage her and her siblings to be consistently clever, so they may more easily navigate their way out of issues that arise.

What interests me as well is the sheer absurdity and nodes of violence in the story, especially as a mode to inform children of life lessons. Many children’s tales are outlandish or horrific in nature in order to be more captivating for their audience, like many iterations of Snow White, or Little Red Riding Hood. If children are more entertained or frightened by a story, the more likely the intention will stick with them.