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CINDERELLA BIBLIOGRAPHY
by
Russell A. Peck |
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MODERN FICTION: |
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- Adventures of the Beautiful Little Maid Cinderilla; or, The History of a Glass Slipper.
- York: J. Kendrew, 1820; 1822.
[A straight forward telling based on Perrault.]
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- Ahlberg, Janet. The Cinderella Show. Harmondsworth, Middlesex, England: Viking
- Kestrel, 1986.
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- -----, and Allan. “Cinderella.” In The Jolly Postman. Boston: Little Brown, 1986.
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- Alcott, Louisa May. “A Modern Cinderella”, Atlantic Monthly 6, no. 36. October, 1869.
- Pp. 425-411; rpt. A Modern Cinderella. New York: Hurst, 1904.
[A rehearsal for “The First Wedding” chapter in Part II of Little Women (1868), with its
interesting portrait of the artist sister, Laura, and the writer sister, Di, who is determined to support the family
through her pen. See Griswold, Audacious Kids (p. 262, n. 14) on Cinderella details in Little Women: “The shoes by the fire
remind the girls of Marmee; like Cinderella, Beth often creeps off to the hearth; Meg attends the Gardiners’ ball, has
problems with her shoe, and is given a ride home in a carriage by Laurie, a prince of a fellow; at the Moffats’ party, Meg
undergoes a sparkling transformation with the help of a borrowed dress and seems like ‘Cinderella’; and so on.” The
story “A Modern Cinderella” was collected in Robert Brothers, Hospital Sketches and Camp and Fireside Stories (1869), and
reprinted by Shealy, Stern, and Myerson, Louisa May Alcott: Selected Fiction (1990). The issue of The Atlantic Monthly in
which the story originally appeared also included Nathaniel Hawthorne’s “Some of the Haunts of Burns,” John Greenleaf
Whittier’s “Summons,” and James Russell Lowell’s “Election.”]
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- Alexander, Dounne. The Black Cinderella. London: D. Alexander, 1992.
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- Alexander, Trisha. Cinderella Girl. New York: Silhouette Books, 1990.
[Backcover: The costume ball held all the enchantment of a fairy tale, and courtly Dusty Mitchell seemed truly a prince
among men, sweeping Victoria Jones clear off her synthetic glass slippers. For a single mom used to moonlighting to make ends
meet, playing princess on a moonlit veranda was breathtakingly magical ... until Victoria detected something hauntingly familiar
in her mysterious cowboy’s resonant voice, and fled into the night. Left holding a solitary shoe, Dusty pursued his Cinderella
with the vigor of a storybook hero. But when his quest led him to the woman who’d just put a curse on his career, he wondered
if a happy ending was, indeed, the stuff of fairy tales—grim fairy tales. Flyleaf: “Wait, don’t walk off. I don’t even know
your name.” Dusty grasped her hand. Her mouth curved into an impish smile. “Why, I thought you knew who I was,” she said.
“A princess?” he guessed. “Only until midnight.” She smile grew more mischievous, and she lifted the hem of her satin gown,
revealing shapely feet encased in clear high heels. “Ha … you’re Cinderella, glass slippers and all.” “And you are?” Dusty
yielded to impulse. “Prince Charming, at your service.” At that, his warm lips met the tender underside of her wrist, and a
queer breathlessness seized her. “You don’t look like Prince Charming,” she teased. “You look like a cowboy.” He chuckled, and
at the warm, resonant sound, feelings that had been suppressed for so long began to stir within her. “Prince Charming is merely
a state of mind,” Dusty murmered. But the story becomes complicated. Dusty is outraged when he learns that Victoria encouraged
Sissy to be together with Dustin’s brother David and refuses to see her again. But David and Sissy prove to ge a good match.
Dusty was clearly wrong. He humbly makes up with Victoria and the Cinderella dream comes true.]
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- Allison, Heather. His Cinderella Bride. Toronto: Harlequin Books, 1997. Larger print
- edition.
[Rose Franklin was mousy, only average, but she is fed up with kissing frogs. She yearns for Prince Charming and, suddenly,
she finds him - Duncan Burke, who makes everyone else fade into shadow with his lantern jaw, cleft chin, black hair, dark
eyes, and the slight curl that caresses his forehead. Everyone tells her she’s out of her league. But with a new wardwobe, an
overenthusiastic hairdresser, and a little help from her friends, Rose transforms into Cinderella. All she has to do is convince
Prince Charming that she’s the perfect woman to fit into his life, and his heart. But Duncan loves her smile. She finds the
perfect size-eight dress, and he finds the shoe that fits her. They are married in the Rice University Chapel, Rose breathtakingly
radiant in her pearl-encrusted gown with the cathedral length train, and they lived happily ever after.]
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- Ames, Jennifer. The Reluctant Cinderella. New York: Avalon Books, 1952.
[Dust jacket: Felton’s Department Store in London occupied an entire block and, through the years, had become as much
one of London’s traditions as the Houses of Parliament, or Madame Tussaud’s Waxworks. It was no small honor to the buyer of
sportwear - but now an even greater distinction awaited pretty Carol Marston. After six years at Felton’s, she was about to be
chosen as its exchange representative to Appleton’s magnificent New York store … From the moment she was selected, everything
seemed to go wrong. First, Carol would have liked to receive the award from Jason Felton, who, as William Felton’s nephew, had
every right to be managing director, a job now held by ex-efficiency expert Don Haskin, the choice of William Felton’s young
widow. And when glamorous Thelma Felton hinted that she too would like to visit America, tall, good-looking Derek Appleton
immediately invited her along. On the Queen Mary, Carol was amazed to find Jason Felton, traveling tourist class to accept a
mysterious job as chauffeur to Julie Gallet, a Felton award winner who had done well for herself in the States - nabbing a
wealthy American on her first trip over. When Carol, whose first assignment was at Appleton’s Palm Beach store, saw Julie
Gallet, she knew, to her further dismay, that Jason’s new job was a dangerous one … And, to add to the mystery, who was Maxie,
the gambler who seemed to rule not only Julie’s husband but a great many other people as well? And why Thelma Felton’s reluctance
to visit Palm Beach - when to refuse would endanger her hold on Derek Appleton? Jennifer Ames reveals the answers, in her own
fascinating way, in this intriguing story of love and adventure on Florida’s fabulous Gold Coast.]
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- Apollinaire, Guillaume. “La Suite de Cendrillon, ou le rat et les six lézards”
- (“Cinderella Continued, or the Rat and the Six Lizards”), La Baionette, January 16, 1919.
[The fairy godmother lets the Rat continue as a coachman and the lizards as footmen. They sell the coach, take on disguises,
and live in clover wandering the roads. The rat learns to read, amasses a quantity of books and becomes known as Lerat
de Bibliothèque, compiling numerous works that are preserved at Oxford in manuscript form. The lizards become
artists–a poet, a painter, a sculptor, an architect, a musician, and a dancer–and are known now as “les Arts.” Lerat
and four of his artful companions die, but Lacerte the poet and Armonidor the musician live on in wretchedness.
They force entry into the Royal palace and take a casket that has in it Cinderella’s squirrel-fur slippers. They are arrested
and would be executed, but Armonidor takes the blame on himself and Lacerte returns home to compose an epitaph. He dies a
month later. The slippers end up in a museum in Pittsburgh.]
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- Arthur, Katherine. Cinderella Wife. Toronto: Harlequin Books, 1985.
[Backcover: She’d be crazy to say yes. Powerful fashion mogul Davin Sigmundsen’s proposal of a marriage of convenience
was the most bizarre thing Susanna had ever heard. She knew she’d be convincing in the role of Davin’s adoring wife, but what
experience had she really with his world - the world of the super-rich? More important, when her year as Davin’s wife was over,
how could she bear to give him up? Flyleaf: “You’d have all the luxuries I can offer.” Davin’s face was impassive.
“I’d see that it was a very pleasant year for you. And I thought it might appeal to you as a job, if nothing else.” Susanna’s
mind whirled. To live, if only for a year, as one of the rich and famous– and when that year was up, just like Cinderella,
her jeweled coach would turn back into a pumplin. Could she carry it off? Would it be worth it? “I have to know all the details,”
she said quietly. “For a man like you to have to hire a wife is– almost
unbelievable. I can’t do it until I know the reason. Just why do you need a wife so badly, right now?”]
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- Arthur, Ruth M. The Whistling Boy. London: Collins, 1969; rpt. 1973.
[“Teenage Kirsty hates her young and pretty stepmother, Lois. Her father remarried just a year after her real mother died of
a heart attack. Her twin brothers seem not at all put out about the second marriage. Kirsty explains to herself, ‘I was the odd one
out, my father had Lois, the twins had each other, and I — had no one’” (p. 30). Fortunately, the sympathetic housekeeper,
(the fairy godmother figure), suggests that Kirsty go for a working summer holiday to her sister’s, near Norfolk, on the English
coast. There she meets another Cinderella figure, Jake, the son of a cold, rejecting mother who thinks Jake may be mentally ill.
All of these subplots (including one about a friend, Dinah, a third Cinderella figure who suffers rejection at the hands of an
alcoholic mother) are brought to their respective climaxes and happy endings, including the laying of an unhappy ghost from many
years before, the Whistling Boy of the title. As in the traditional Cinderella, hard work must be done, risks taken,
anguish and strong emotions suffered, characters developed. Even at the end, there still remains the haunting by the unquiet
sea where the Whistling Boy drowned himself” (Gough, p. 103).]
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- Ashley, Bernard. Sally Cinderella. London: Orchard Books, 1989.
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- Atwood, Margaret. Good Bones and Simple Murders. New York: Bantam Doubleday Dell
- Publishing, 1994.
[Reworks issues of fairy tales for amusing and provocative ends. Ch. 3 “Unpopular Gals” deals with the “wicked” or “ugly”
stepsisters and concludes: “You can wipe your feet on me, twist my motives around all you like, you can dump millstones on my
head and drown me in the river, but you can’t get me out of the story. I’m the plot, babe, and don’t ever forget it” (p. ll).
Ch. 6 “There was once” begins: “There was once a poor girl, as beautiful as she was good, who lived with her wicked stepmother
in a house in the forest,” then challenges and revises details according to the quibbles of various politicized demands on what
is acceptable to be said, until the whole beginning is lost, even the “once.” Ch. 13 “Happy Endings” offers several scenarios
for an end, ultimately concluding, “John and Mary die. John and Mary die. John and Mary die” (p.56).]
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- Auch, Mary Jane. Glass Slippers Give You Blisters. New York: Holiday House, 1989.
[Sixth grader Kelly MacDonald doesn’t get the lead in the Riverton Junior High production of Cinderella, nor does she get to do
the sets, even when her designs are better than Janet Poole’s, but when the lighting director has to drop out, she gets that job
and transforms a drab production into something magical. Even a white tennis shoe becomes a luminous slipper. The story studies
the tensions between three generations of women–Kelly, her practical mom, and her artist grandmother.]
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- Austen, Jane. Pride and Prejudice. 1813.
[A virtuous daughter, favored by her father, succeeds despite foolish sisters and foolish mother. She marries the worthy D’Arcy to
live on his tasteful estate, with psyche restored and fulfilled. See also Persuasion, Sense and Sensibility,
and Mansfield Park.]
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- Avery, Barbara J. Say, Did You Lose Your Shoe?. 1977.
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- Baker, Jennifer. At Midnight: A Novel Based on Cinderella. New York: Scholastic,
- Inc., 1995.
[ Back Cover: “Some day my prince will come …. Ella Browning once led an enchanted life. Popular and pretty, Ella looked
forward to a carefree future filled with happiness and joy – until the death of her cherished father pushed her to the brink
of despair. Left alone, dependent upon her stepmother [Lucinda] and her two cruel stepsisters [Staci and Drew], Ella spends her
days slaving through back-breaking chores, and her nights are filled with tears and impossible dreams of finding a true love who
will help her leave it all behind. Then she hears of the prince from a faraway land who has come to Ella’s town looking for a
bride. Ella hardly dares to dream of even speaking to Prince Will. But when their eyes meet across a crowded room, when his
touch melts her heart as they share a dance, Ella realizes something magical has happened. Now she must put her faith in that
magic and hope a broken shoe and the memory of a kiss can bring her prince back to her. Once Upon a Dream … where wishes
really do come true.”]
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- Banks, Carol. Yellow, Yellow Cinderella. Whitby, Ontario: Plowman, 1990.
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- Bayley, Frederick William Naylor (1808-1853). Cinderella. London: Wm. S. Orr & Co.
- Amen Corner Paternoster Row, [between 1842 and 1849].
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- Beattie, Ann. “The Cinderella Waltz.” From The Burning House, by Ann Beattie. New
- York: International Creative Management, Inc., and Random House, 1980, 1981, 1982. First published in The New Yorker, 1979;
rpt. in Another Part of the Forest: The Flamingo Anthology of Gay Literature. Ed. Alberto Manguel and Craig Stephenson.
New York: Flamingo (An Imprint of Harper Collins Publishers), 1994. Pp. 40-58.
[The narrator, Louise’s mother, is divorced but remains friends with Milo, Louise’s father, who is gay and living with Bradley.
The story studies the complex “family” relationship, as the mother comes to accept, even be concerned over Bradley. Milo is
somewhat insensitive, but maintains real affection for his daughter. He takes a job in San Francisco and leaves the ex-wife
and Bradley behind. Louise is consoled with the possibility of visiting him and riding in the glass elevator of the Fairmont
Hotel. “Before Louise was born, Milo used to put his ear to my stomach, and say that if the baby turned out to be
girl he would put her in glass slippers instead of booties. Now he is the prince once again. I see them in a glass elevator,
not long from now, going up and up, with the people below getting smaller and smaller, until they disappear” (p. 58).]
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- Berberova, Nina. “The Tattered Cloak.” In The Tatered Cloak and Other Novels,
- translated by Marian Schwartz. New York: Alfred A. Knopf, 1991; Vintage International, 1992. Pp. 163-212.
[Uses many Cinderella/Tattercoat components in developing the bleak narrative. With the death of Sascha’s mother, the post
revolution Russian family rapidly declines in Petersburg. Living in extreme poverty Sascha cares for her father and tries to keep
a dream alive. Her sister runs off with a theater man, Samoilov, who is already married. Sascha and her father move to Paris where
the father’s sister Varvara lives. Sascha works through the depression and German occupation doing ironing, feeling manacled
by her iron as a prisoner of fate. Her father refers to her as his little Cordelia. She turns down a marriage proposal,
yearning in her fantasy for someone like the man who took her sister away. She tries to save a few francs each week, but with her
father’s death, half of her savings are used up. Samoilov turns up years later in Paris looking for the father, to whom he wishes
to apologize for taking his daughter from him. She died of typhoid somewhere in Russia, working as a traveling actress.
Sascha, knowing that life has very few precious moments but that perhaps her sister had some, tries to convince Samoilov that
what he did was not wrong, reminding him of a story he had told during the courtship of the sister about an old tattered
cloak in the bottom of a trunk, which became a metaphor of the human spirit, moth-eaten but too precious to be discarded
(with references to King Lear and Don Quixote). He says Sascha has misremembered the occasion and the source of the story,
and departs, leaving her increasingly aware of the fragility of life. But even though the world is going to hell, she senses
a “blessed light is burning quietly for me.” She still searches for grandeur, truth, wisdom, and love. How can any grandeur
visit a life of such poverty and vulgarity in the laundry or her aunt’s kitchen? Yet involuntarily she thinks
she may once again face something of grandeur. But, she wonders, will any Samoilov ever be able to give her the signal?]
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- Beaumont, Anne. A Cinderella Affair. UK: Mills and Boon, 1991; Toronto: Harlequin
- Books, 1992.
[Backcover: She left her heart - not her glass slipper. Briony Spenser knew how Cinderella must have felt. When she
returned to her fiancé, Matthew, after meeting and falling in love with the enigmatic Paul Deverill, it was as if the
clock had struck twelve and the coach had turned into a pumpkin. Nothing would ever be the same for Briony. Matthew’s love
could not diminish the power of her brief, sweet affair with Paul. Finally, out of sheer desperation, she tried to contact the
man she loved, but she could not find him. Had Paul forgotten her already? Bleakly, Briony contemplated a life without meaning,
a life without her handsome prince. Flyleaf: Suddenly Briony was afraid. Something was happening - had happened - between
them. And whatever it was, it had to be stopped. She’d fled to Paris to clarify her emotional state, not to complicate it.
“It is a beginning, isn’t it?” the stranger persisted gently, smiling at her in his will-sapping way. “No!” She sounded
unnecessarily harsh, but she was panicking. A wild, forbidden excitement was beginning to pulse through her, threatening to get
out of hand. Fear she could run from, but this other feeling made her a willing captive. “Yes,” he contradicted bluntly.
“You don’t understand,” Briony told him hurriedly. “I’m engaged. I’m going to be married. As soon as I get back to England …
I think.” Conclusion: She’d lost her lover, but his child was growing within her. Had Sheena got her hooks into him?
She saw them together. He simply looked through her and walked on with Sheena. Her love turned to hatred. Then she met Paul
again, in the restaurant where she worked. He asks bitterly about her hasty marriage. But this time he comes to help her,
saying that he will be by her side even though she is bearing Matthew’s baby. She’s shocked. He doesn’t know that he’s the
father. He learns the truth - Matthew is dead - nor did she love him. Paul will have a bride and a baby.
“You’ve been my wife since I first saw you that rainy day in Paris,” Paul said positively. “It’s just that I’ve been longer
claiming you than I expected.” His searching, possessive lips came down on hers again. Briony felt well and truly claimed at last.
It was a lovely feeling.]
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- Beresford, Titian. Cinderella. New York: Masquerade Books, 1996.
[According to the back cover, Titian Beresford triumphs again with this “magical exploration of the full erotic potential
of this fairy tale … with castle dungeons and tightly corseted ladies-in-waiting, naughty viscounts and impossibly cruel
masturbatrixes - nearly every conceivable method of erotic torture is explored and described in lush, vivid detail. A fetishist’s
dream and a masochist’s delight!”]
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- Blume, Judy. It’s Not the End of the World. London: Pan, 1972; rpt. 1979.
[Karen’s parents fight and divorce, leaving Karen upset and confused. Feeling as abandoned as Cinderella, she finds
godmother-like counsel in Val, who has been through the experience of having her parents divorce and who shares with Karen
a book about the effects of such crises on children. With determination and well-focused work, Karen discovers that her problems
are not the end of the world and that there can be personal happiness despite destructive family crises.]
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- Boswell, Barbara, Carole Buck, and Cassie Miles. Magic Slippers. New York: Avon
- Books, 1996.
[“All a woman needs is a perfect pair of shoes - and, oh yes, love.” According to the blurb and back cover: “A Perfect Fit.
Deep down, every woman believes that, if she wears just the right outfit, the perfect man will step into her life. Except it
never quite works that way. So we’ve added a touch of magic to the ensemble to nudge love along. Cinderella had her glass
slipper. Dorothy her ruby pumps. Now here are three truly great pairs of shoes, each of which can transform even the most
ordinary lady into a tantalizing love goddess - with a little bit of help … and the proper Prince Charming, of course.”
[Birthday Shoes, by Barbara Boswell: “Black suede pumps - and a broken gypsy curse - open a practical lady law assistant’s
eyes to the sensual charms of her work-obsessed boss … and turn office politics into desk-top sizzle.” “Jordan had been riveted
by those sexy shoes, unable to tear his eyes away from the sight of them on Janessa’s slender, pretty feet. He’d never gazed at a
woman’s legs and felt heat streak through him. Yet the sight of Janessa’s shapely legs affected him like a lit match tossed into
a pool of gasoline. He was going up in flames.”
[Cupid Wears Combat Boots, by Carole Buck: “Combat boots - and a matchmaking teen - convince a sex-kitten actress with
a home-seeking heart that there is something far more important than her next action flick: going one-on-one with her virile
combat instructor on a permanent basis.” “The cake split open, and Kayla Delaney emerged from the plaster-frosted pastry
with a professional flourish. She was clad in an oversize khaki shirt that ended in the middle of her sleekly muscled thighs.
There were streaks of camouflage on her face and black leather combat boots on her feet. ‘I don’t know what you wished for,’
she said in a throaty voice, staring directly into Quinn’s eyes. ‘But I’m what you got.’”
[Heart and Soles, by Cassie Miles: “Iridescent platform sandals - and a punk fairy godmother - expose the wild side of
a practical-minded miss and thrust her into the arms of a long-lost love who’d like to re-park his own shoes under her bed.”
“Julie Buchanan slowly turned and peered through the window of the secondhand boutique. Those shoes! Blue and green
luminescent platform heels - absolutely outrageous! ‘Wow,’ she whispered. Her heart pounded, her breathing accelerated,
and her eyes were blinded by a flash of light. A tempting siren assailed her ears: Buy me, buy me, buy me!”]
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- Brame, Charlotte Mary (1836-1884). A Modern Cinderella. 2nd ed. New York: F. M.
- Lupton, 1889.
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- Bridgham, Gladys Ruth. A Modern Cinderella. Boston: W.H. Baker, 1925.
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- Brooke, William J. “The Fitting of the Slipper.” In A Telling of the Tales: Five Stories,
- with drawings by Richard Egielski. New York: Harper & Row, 1990. Pp. 51-74.
[What happens after the ball? A class-conscious Cockney Cinderella doesn’t want to try on the slipper when the prince
approaches. Though they smash the glass slipper, they do spend time with each other and take a few steps together at the end.]
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- Browning, Dixie. Beckett’s Cinderella. New York: Silhouette Books, 2002.
[Back Cover: Beckett’s Fortune: Some men are made for lovin’–and you’ll love our Man of the Month. “You can’t refuse
me!–Lancelot Beckett, millionaire on a mission to settle a debt. Secred heiress Liza Chandler didn’t want the money – or
the rugged millionaire who’d suddenly come into her life. But Beckett had made a vow to get the job done … and he wasn’t the
type to take no for an answer. Especially now when he discovered that beneath Liza’s plain-Jane exterior is a
passionate woman just waiting to be protected. But would Liza trust Beckett enough to take his money … and let him into her
heart? Passionate, powerful and provocative. Fly leaf: August’s Man of the Month is the first book in the exciting
family-based saga Beckett’s Fortune, by Dixie Browning. Beckett’s Cinderella features a hero honor-bound to repay a
generations-old debt and a poor-but-proud heroine leery of love and money she can’t believe is offered unconditionally.
Praise for Dixie Browning: “There is no one writing romance today who touches the heart and tickles the ribs like Dixie
Browning. The people in her books are as warm and real as a sunbeam and just as lovely” – New York Times bestselling
author Linda Howard. “Each of Dixie’s books is a keeper guaranteed to warm the heart and delight the senses” – New
York Times best selling author Jayne Ann Krentz. “A true pioneer in romance fiction, the delightful Dixie Browning is
a reader’s most precious treasure, a constant source of outstanding entertainment.” – Romantic Times. “Dixie’s books
never disappoint – they always lift your spirit!” – USA Today bestselling author Mary Lynn Baxter.
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- -----. Cinderella’s Midnight Kiss. New York: Silhouette Books, 2000.
[Backcover: “Will you dance with me?” Orphaned Cindy Danbury’s heart beat faster when John Hale Hitchcock invited
her into his arms. He was backethe handsome prince she’d adored from afar — and still beyond her reach. In fact, she should be
serving at her stepcousin’s wedding, not dancing with the best man! But something in Hitch’s gaze coaxed her to say “yes!” and
gave fuel to her secret dreams. Not only gorgeous, rich, and eligible, Hitch was gentle, kind and thoughtful. But could he see
beyond Cindy’s poor-relation façade to the vibrant, loving woman inside? Perhaps Cindy should wake her Prince Charming
with a kiss of her own … Fly leaf: Dear Reader, Isn’t it amazing how swiftly the years have flown past? I marvel
at all the changes, yet one thing has never changed: the satisfaction to be found in reading a good romance. Twenty years ago
our romances were somewhat different. They mirrored the times, as popular fiction usually does. In many ways they were more naïve,
as were we. It seems in retrospect as though the edges were softer, but then, maybe that’s only in my imagination. I’ve written
a Cinderella story. The old fairy tales, the legends and myths still persist, don’t they? Is there anyone among us who
doesn’t long for a happy ending? Here you have it. Always, in a traditional romance. It’s a given. And I give this one to you
with my blessings and my hopes for all our happy endings. My thanks to you, the readers, to the wonderful people at
Silhouette, to the many friends I’ve made both there and among my fans - and the many more I hope to make in the future.
Sincerely, Dixie Browning.]
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- Buck, Carole. “Cupid Wears Combat Boots.” In Magic Slippers. New York: Avon Books,
- 1996. Pp. 131-279.
[See the entry for Barbara Boswell, above.]
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- Burchell, Mary. Cinderella After Midnight. Toronto: Harlequin Books, 1967; rpt. 1971,
- 1972, 1975.
[After three months at an exclusive seaside resort, paid for by her Aunt Gabrielle, Elaine gambles her future on hopes of a
rich marriage. But she falls in love with Adrian, who makes no move on her because he is poor. But he can give the kind of kiss
of which Roger Ivarley knows nothing, despite his wealth. So she agrees to marry Adrian, who turns out not to be so poor afterall.]
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- Burnett, Frances Hodgson. The Secret Garden. London, 1911; rpt. with pictures by
- Tasha Tudor, New York: J.B. Lippincott, 1962.
[Burnett borrows several basic components from Grimm’s “Ash Daughter” in constructing the story: the mother’s promise to watch
over her daughter after death; the impoverished child’s attendance of her mother’s grave, making it a kind of garden where a tree
grows and birds nest. The garden, once an ashpit, serves also in loco parentis for motherless and ailing Colin as well. Mrs.
Sowerby, the incarnation of motherhood, appears almost magically in the garden in a fairy godmother, earth goddess role.
See Griswold, Audacious Kids (pp. 208-210).]
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- -----. A Little Princess; Being the Whole Story of Sara Crewe Now Told for the First
- Time. Illustrated by Ethel Franklin Betts. New York: C. Scribner’s Sons, 1911. First published as
Sara Crewe; or What Happened at Miss Minchin’s. New York: C. Scribner’s Sons, 1889. Reprinted with pictures by Jamichael
Henterly, New York: Grosset & Dunlap, 1989; and with illustrations by Graham Rust, Boston: David R. Godine, 1989.
[A study in Victorian child abuse. At age seven, Sara Crewe, her French mother dead, is placed in Miss Minchin’s Select Seminary
for Young Ladies in London by her father, who is in service in India. Upon the death of her father by jungle fever and reversal
of fortune, Sara is relegated to the attic, hard dirty work, and starvation, by the cruel Miss Minchin. Sara survives through
kindness to the poor, friendship with animals, and a powerfully constructive imagination until her father’s business partner
and his Indian servant move in next door, in search of the lost Sara. The servant observes the virtuous girl and her persecution
for two years, performing godmother-like services for her until the discovery of her true identity is made and she is restored
to the privileges she deserves.]
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- Burrows, Edith. A Garden Cinderella. Philadelphia: Penn, 1920.
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- Carpenter, Helen K., and Edward Childs Carpenter. The Cinderella Man. A Romance
- of Youth. New York: Grosset & Dunlap, 1916.
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- Cartland, Barbara. The Mysterious Maid-Servant. Bantam Romance 58. New York:
- Bantam Books, 1977.
[From the blurb: “Giselda had nowhere to turn. Without the money for the operation her young brother might die. Her wealthy
employer, the Earl of Lyndhurst, might be kind and generous, but she could never accept his charity. He must not know the terrible
reason for her family’s poverty. Choking back her pride and knowing that she was about to forfeit the love and respect she so
tenderly wished from him, she said in a very low voice: ‘I have … heard, and I do not think I am mistaken, that there are …
g-gentlemen who will pay large sums of money for a girl who is … p-pure. I want … I must have … £50 immediately … and I thought perhaps you could find me … someone to give me … that amount.” The year is 1816. All works out well for both
the Earl and Giselda. “Her négligée slipped to the ground and for a moment the Earl saw her body silhouetted through
her diaphanous nightgown against the glow of the flames. Then two strong arms drew her into the bed. The Earl held her very
tight. He could feel that she was trembling, and her heart was beating as frantically as his. ‘I love you! Oh, my darling,
precious little wife, I love you! Now we are together, as I have always wanted us to be.’ ‘Together … ’ Giselda whispered,
‘b-but I am afraid you will be … disappointed because you hate … thin women.’ … They became one person. There were
no more mysteries, no more secrets, only love — a love stretching out towards an indefinable horizon.”]
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- Christenberry, Judy. A Ring for Cinderella. Silhouette Romance #1356. New York:
- Silhouette Books, 1999.
[The lucky charm sisters marry for convenience, but finding love is more difficult. Kate
Greenwood is the boss of the Lucky Charm Diner, sister Maggie is the brains, and the youngest sister, Susan
Greenwood, is a beauty who works hard as a waitress. But instead of a tip, Zach Zowry, a handsome young cowboy,
proposes marriage, in front of everyone, right in the middle of the Lucky Charm Diner. The marriage is to be
brief and strictly on her terms: he simply needs a bride to soothe his dying grandfather. Both Zach and Susan are
virgins, but they find themselves falling in love in their pretend marriage as her selfless gestures and warm
embraces turn the cynical rancher into an optimist with knots in his stomach, hoping to make a real future and
family with his Cinderella bride, which he does.]
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- Cinderella and Her Glass Slippers. Stereotyped by T. Steward. Bath, N.Y.: R.L.
- Underhill, [between 1843-1863].
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- Cinderella on the Ball. Dublin: Attic, 1991.
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- Cole, Isabel. “The Brown Bear of Norway.” In Black Thorn, White Rose. Ed. Ellen Datlow
- and Terri Windling. New York: Avon Books, 1995. Pp. 132-150.
[Based on the Norwegian tale, Cole has written a study of the loneliness of puberty. A woman, always cold and alone,
recalls her meeting of an exchange student from Norway when she was fifteen in a New York City school. When he returns to Norway,
the boy tells her that he has a friend in Norway who wants a pen pal from America. The “friend” calls himself the Brown Bear of
Norway. After the boy returns, she receives a letter from “the Brown Bear”; she replies, entering into the imaginative
relationship; she feels free for the first time. New York becomes more real to her and she dreams of the fantastic shape
shifter. One night she dares to wake up, turns on the light, and looks upon him as he sleeps. She sees him in the shadows,
but then he disappears. For three years she lives in confusion and exacerbated loneliness. Then she sets out in search of
him, all the time uncertain of her identity as a woman, or just what it is that she desires. She goes to Norway and finds
an empty house. A boy appears and seems to know that she is looking for the Brown Bear. He sends her to Stockholm where
she meets the “Bear”’s mother, but the youth has moved on. The woman is ready to give up, but the mother tells her that
she must continue the search, that the bear has lost his skin, and that he needs her. The woman at last finds him, hidden
in a dark room, his new human clothes off, asleep and bleeding. She picks up his clothes and then wipes him clean. He
awakens and but does not seem to recognize her. She declares her love in English then flees. He pursues, and she recognizes
him as the Norwegian boy from school. They walk on together in the cold, but she now is not cold. Melting snow trickles
through her hair, “down her face, from my eyes” (p. 150).]
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- Colum, Padraic. The Girl Who Sat by the Ashes. New York, 1919; Reissued, Macmillan,
- 1968.
[See Ellin Greene’s analysis under Criticism, which identifies the dozen or so folklore types the Colum draws
upon in constructing his story.]
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- Converse, Jane. Cinderella Nurse. A Signet Book. South Yarmouth, Maine: Curley
- Publishing, 1967.
[Backcover: Her sister was too beautiful and too spoiled for her own good. Her mother dabbled in mysticism on
Rita’s salary. Rita Ambler was young, beautiful … and a Cinderella nurse. “Give it up,” Glenn Seabrook had said.
“They’re using you, Rita. They’ll never change.” But she couldn’t abandon her family. And she lost Glenn. It all seemed so
long ago. Before she became wife to an alcoholic, mother to a son — and a widow. At twenty-four, life held no more surprises
for Rita Ambler. Then came the accident that changed everything, that thrust Rita Ambler into the arms of Dr. Lester Wyman
and out of the reach of his new protégé Dr. Glenn Seabrook … the only man she had ever loved. Flyleaf: After
the ball is over: What happens then? What happens to a beautiful sister who can’t say no? To an eccentric mother who finds
her answers in the cards? To the trusting little boy who is her fatherless son? Responsibility had become a way of life to
Rita Ambler. In the name of duty she lost Dr. Glenn Seabrook. And now he had returned to Brianwood Hospital. Could she ever
dare hope that he would still care? Was it too late to turn to Glenn now that she had accepted Dr. Lester Wyman’s proposal?
Rita Ambler could not afford to make the same mistake twice, for she knew thre would be no second chance for a CINDERELLA NURSE.]
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- Cooke, Marjorie Benton (1876-1920). Cinderella Jane. New York: A. L. Burt company,
- 1917.
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- Cotes, Mrs. Everard (1861-1922). Cousin Cinderella. Leipzig: B. Tauchnitz, 1908; rpt.
- Toronto: University of Toronto Press, 1980.
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- Cowden, Bess Sherman. Cinderella from Hong Kong. Franklin, Ohio: The Eldridge
- Entertainment House, 1927.
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- Cripps, Arthur Shearly (1869-1952). Cinderella in the South. Oxford: B. H. Blackwell,
- 1918.
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- Crockett, Samuel Rutherford (1860-1914). Cinderella: A Novel. London: J. Clarke &
- Co., 1901.
[Crockett’s novels were very popular. He wrote 83 of them which appeared in numerous editions, some with introductions by
R. L. Stevenson, etc. His Cinderella was carried by four publishers, including Thomas Nelson and Sons in their popular
pocketbook series.]
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- Cross, Caroline. Cinderella’s Tycoon. New York: Silhouette Book, 1999.
[A Desire book in the Texas Gentleman’s Club series, where five wealthy Texas bachelors - all members of the state’s most
exclusive club - set out on a mission to rescue a princess … and find true love. Backcover: The Business Tycoon:
“Honor” was Texas tycoon Sterling Churchill’s middle name. So when a mix-up at the local sperm bank unexpectedly made
him a father-to-be, he gallantly stepped forward to marry shy beauty Susan Wilkins. It was a marriage in name only - until
he gave his bride a soul-spinning kiss. Now his new wife was carrying his child and wearing a look of pure splendor.
Could tough-as-nails Sterling open the rusty doors of his heart … and turn pumpkins into coaches for his Cinderella bride?
Fly leaf: This month, in Cinderella’s Tycoon by Caroline Cross, meet Sterling Churchill — CEO of Churchill Enterprises.
Nothing seems too big a challenge for steely Sterling, until he finds himself marrying Susan Wilkins — a
plain-Jane librarian who wants only to have her baby in peace in this modern-day Cinderella love story.]
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- Crossley, Dave. “Christopher’s Punctured Romance.” In Help!, ed. Harvey Kurtzman.
- May 1965.
[Though not a Cinderella plot, this photo-cartoon satire on a male’s doll-for-a-partner fantasy touches on several
Cinderella fantasy motifs, particularly the erotic dream (in this instance, a male dreamer), clothes and sexual arousal,
yearning for the perfect princess with the prince as rescuer and possessor, and the plastic bride as forever. With John Cleese
as Christopher Barrel, Cindy Young as Wilma Barrel; photographer Martin Iger. Rpt. in Kim “Howard” Johnson’s The First 20X Years
of Monty Python (New York: Python Productions Ltd, 1989, pp. 29-43). Christopher Barrel, suffering from ennui, comes home from
work exhausted and bored to be waited on by his lovely, perfect-in-all-ways doll of a wife, who fixes him a drink. He finds his
daughter’s new Barbie doll and falls in love with it. At night he slips away from Wilma and undresses Barbie, admires her
“things,” and then {censored}. Next day he can think of nothing but Barbie at work. He comes home to find Ken in Barbie’s
closet and is outraged. He struggles with his fantasy and finally decides to apologize to Wilma for his infidelity. But in
approaching her on the couch he trips over another box, this one containing “The Visible Woman,” which so sets him a-whirl with
a new fantasy that he never apologizes. In “The Barbie Complex,” real plastic is preferred to human alternatives.]
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- Crottet, Robert. “Cinderella.” In The Enchanted Forest and Other Tales. With
- Introduction by Eric Linklater and Woodcuts by Eric King. London: The Richards Press, Ltd., 1949. Pp. 124-130.
[A male Cinderella story. The king of Agatavara and his daughter live on the top of the highest peak. When the king comes down
to the valley none dare look at him, for the people say he has a face like the sun and would blind them. Only one young man,
the third son of an old sick man dared look. He was called Cinderella because he had two older brothers for whom he did things
that they would never dream of doing for him. He was a dreamer and did not mind the mockery of his brothers. As the old man is
dying, he asks that his first son sit by him to ward off evil spirits on the first night, the second son on the second night,
and Cinderella on the third. After the old man’s death the older two brothers will have nothing to do with the corpse. Cinderella
washes the old man’s feet and dreams of the young princess on the peak behind the clouds. As the boy watches, the corpse sits
up and tells the boy that he has followed the boy’s spirit and knows that a black horse will come whose mane shines like the
Northern Lights. On the second night the father leads the boy to the foot of the mountain where a white horse, whose nostrils
shine like the sun will come, but “you must keep the secret to yourself and I shall watch over you from the realm of the dead.”
After the father is buried the elder sons enslave Cinderella and beat him for amusement. At night Cinderella goes to the foot
of the mountain, but no horse can be seen. He grows weak and prays to his father that not much life remains. Then a black horse
comes out of the night. The sick boy clings to it as fire flames from its nostrils. They rise above the clouds. Then an eagle
swoops down and plants its claws in the boy’s forehead. Cinderella smiles at the eagle and wipes away the blood. He puts a
scarf around his head to hide the blood when he returns home. At twilight he returns to the forest. This time a grey horse
appears and takes him up the mountain. The eagle is now grey and tears the scarf away. Then it is rumoured that the king
has come down once more. None can understand his melodious voice. His messenger comes to the house of the boys. He sees
hardness in the eyes of the elder brothers and asks if there is anyone else there. The brothers point to Cinderella,
whose mind, they say, is like that of a useless beast. The king leans over the boy who is pleased to see him. He notes the
mark of the eagle on his forehead and tells how the boy watched at his dead father’s side without fear of death. He now will
go to the feast where the daughter awaits. Then the people see a horse of dazzling white rise into the air, carrying the boy
beyond the clouds as an eagle with snow-white wings leads the way to the castle.]
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- Cruikshank, George (1792-1878). Cinderella and the Glass Slipper. London: David
- Bogue, 1854. Cruikshank’s edition was first printed with ten handsome illustrations. Rpt. in George Cruikshank’s Fairy Library. London, 1865.
[Four items: Puss in Boots; Jack and the Bean-Stalk; Hop-o’-My Thumb; and Cinderella]. Rpt. in The Cruikshank Fairy-Book. New
York: Putnam, 1897, 1906, etc. Rpt. in Zipes, Victorian Fairy Tales, pp. 37-57, where Zipes identifies it as “a facinating museum-piece of moralism” (p. 38).
[A wealthy gentleman of high family has a handsome wife and beautiful and virtuous daughter. The wife dies, and after a few
years the gentleman remarries. “It is the nature of woman to love children, because the Almighty has appointed her to bring
them up” (p.39). Cinderella’s step-mother is the exception — an unjust, cruel, pompous spendthrift, who soon so squanders
the gentleman’s estate that he is thrown into debtor’s prison. She then compels the daughter to do all the rough, dirty work as
a slave for herself and her two daughters. She sleeps at the hearth and is called Cinderella. The Prince gives a ball, hoping
to chose a wife. The stepsisters hasten to prepare themselves, but the mother becomes so fatigued that she has to go to bed.
Cinderella helps the girls, making beautiful dresses for them and fixing their hair, enduring their fits of temper. They hire
a coach and set off. Poor Cinderella settles down for the night when her godmother, a dwarf, visits. She asks Cinderella if
she would not like to attend the ball. Cinderella says no. So the dwarf tells her that if she cooperates she may be able to
get her father out of prison. So Cinderella consents, fetches a pumpkin, mice, lizards, and rat. The dwarf makes a miniature
pumpkin coach, using mushrooms for wheels, with rat for coachman, mice for horses, and lizards for attendants, linking them
all together with string. Cinderella is much amused. The dwarf proves herself a fairy, transforming everything into a splendid
entourage. At the ball Cinderella thinks of her poor father, but has a good time nonetheless. The Prince gives her all his
attention, but before twelve she slips away, leaving the Prince distracted. He orders a ball for the next night, hoping that
she might return. On her way home Cinderella wonders what the godmother will do with the horses and carriage but is pleased
to see them assume their diminished form. Next day hairdressers have raised their prices, so Cinderella prepares her sisters
as before. The fairy keeps her word and Cinderella attends the ball once more. The Prince proposes marriage to her but she
says she must consult her father and friends. At midnight she flees, the Prince in hot pursuit. She loses a slipper and, as
he stops to pick it up, she hides in one of the passages, then slips out in her scullery clothes, followed by the mice pulling
the pumpkin. The Prince searches for her but she gets home unnoticed; the pumpkin arrives just as the Prince rides by. Later
she sees him pass again, despondent. Next day the Prince announces the quest for the one whom the slipper fits. The Chamberlain
comes, the stepsisters try, Cinderella asks if she might try, is mocked, but then is given the chance. The Queen sends for
her at once, but Cinderella tarries, forgiving her stepsisters, cheering them up with prospects from the court, and greeting
her father, who the fairy has gotten released from prison. The father and godmother go with Cinderella to the Palace,
Cinderella now in her fine clothes. The King is delighted to see her father, who was an old friend. The Queen accepts the
dwarf into her court. The dwarf then debates with the King the evils of alcohol, even in moderation. It sets a bad example
for the kingdom. So he agrees to have a dry wedding. The festivities last several days.]
See Dickens, below, for a synopsis of the satire which precipitated Cruikshank’s temperance-league conclusion. See also Dickens
under Criticism for details on the ideological altercation that led to Cruikshank’s writing his Cinderella.
Cruikshank’s father had died an alcoholic, and he himself had been a heavy drinker but reformed after his father’s death,
publishing several works on abstinence, including “The Bottle.”
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- Crusie, Jennifer. The Cinderella Deal. A Loveswept Romance. New York: Bantam Books,
- 1996.
[According to the back cover and the blurb, “Linc Blaise needed the perfect fiancée to win his dream job, but finding a
woman who’d be convincing in a charade seemed impossible - until he heard Daisy Flattery charm her way out of a sticky situation!
Playing the prim and proper bride-to-be was a lark to the dazzling storyteller, but once she glimpsed the touching vulnerability
Linc tried to hide, pretense turned into temptation. Could she find a way to make their fairy tale last? In a deliciously funny
and touching tale of opposites attracting, Jennifer Crusie warms hearts and tickles funnybones from start to finish! Daisy had
made him believe in wondrous possibilities, drawn him into a world of passionate abandon, but was he brave enough to give her
his love?” “He looked good enough to be Prince Charming.” “When she smiled at him like that, it was hard to think. Imagine what
that smile could do in Prescott. Make a note to have her smile a lot in Prescott, he told himself. She stuck her hand across
the table, and he took it. Her grip was firm and warm. ‘It’s a deal, then,’ she said. ‘A Cinderella deal.’ ‘Good.’ He stood up
and patted her on the head. ‘I’ll see you tomorrow, then.’ Daisy was still glaring at the door after he’d closed it behind him.
A cat kicker. An elbow grabber. A head patter. ‘This may be a Cinderella deal,’ Daisy told the cats, ‘but trust me, he’s no
prince.’” But at the end, when she snuggles close to him with “such megawatt contentment that she took his breath away,”
Daisy concludes, “I want all the happily-ever-after I can get” (p. 228).]
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- Cushman, Gail Decker. After the Ball: Cinderella in Three Analytical Perspectives. Dissertation. 1977.
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- Dalton, Emily. Sign Me, Speechless in Seattle. Toronto: Harlequin Books, 1998.
[Written in an occasionally epistolary style, this Austen-like novel presents Mathilda McKinney, who is an advice columnist
who goes by the name “Aunt Tilly.” She finds herself embroiled with Julian Rothwell, Duke of Chesterfield, who harrasses her
for the troubles her advice has caused him. She wishes she could write Aunt Tilly for advice herself as she finds herself,
an American, falling in love with this tall, blond, and charming Englishman, who wears ties, heather gray suits, and tails,
while she wears sweats and sneakers. “He’s a British peer. I’m an all-American gal. Oh, yeah — and I’ve ruined his life. What
do I tell him? Sign Me, Speechless in Seattle.” But she does solve the problem for both of them, first through antagonized
frustration, then through love. He sees her even better than she sees herself. She could tell that he loved her even as much
as she loved him. The kiss, sexy as ever, added emotional dimensions she had not anticipated. “'How could such a wonderful
thing be happening?' she wondered as he continued to hold her and kiss her despite the busy comings and goings of
crowds in the lobby. She was Cinderella at the ball. She was Michael Jordan at the NBA playoffs. She was Meryl Streep at
the Oscars. She wasn’t a nobody. She was a somebody. and Julian Rothwell loved her just for herself” (p. 249).
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- D’Anard, Elizabeth. Cinderella Summer. New York: Harper-Collins, 1992.
[Backcover: Anne wants more out of life. Ever since Anne’s father left their quiet island home years ago, she has
longed to live an exciting “mainland” life. So when her father asks her to come live in Seattle for the summer with his new
family, Anne accepts, knowing the only thing she’ll miss about tiny Perry Island is her lifelong friend Ryan. Anne soon finds
out the sophisticated city life she imagined doesn’t exist. Her father is seldom home, her stepmother is distant, and her
stepsister treats her like an unwelcome intruder. But Anne’s summer is saved when she meets Phillip Conrad, who quickly
wins her trust and love, and shows her what life in the city has to offer. Still, as the summer grows shorter Anne realizes
she misses Perry Island - and Ryan. And when summer ends, Anne must choose between her two worlds and the boys who live in
them. Flyleaf: As Anne approached Patsy, she noticed her stepmother’s tense expression. “Hi, Patsy! Hope I’m not too
late.” “Anne … ” Patsy began stearnly. Anne stopped in her tracks, shocked by the angry tone of her voice. “I’ll have you
know that you may not drive off with a boy to God knows-where without my permission.” Patsy looked older with her lips pursed
in a tight line. “But I thought you understood I was going for a ride with Phillip,” Anne replied politely. “I’m really sorry.”
“When my girls want to spend the afternoon with a young man,” Patsy continued, “they ask for my permission. They tell me where
they’re going, whom they’re going with, and when they’ll be back.” “I’m so sorry, Patsy,” Anne said quickly. “Things might
be a little bit more casual on Perry Island,” Patsy said tartly. Anne felt her cheeks growing hot with anger. “But we have
strict rules around here.” Tears welled up in Anne’s eyes, but she refused to cry in front of her stepmother. She wasn’t
about to let Patsy alienate her or belittle her Perry Island upbringing. She would keep trying to fit in. She only hoped she
had the strength to continue. Letter from the editor: Dear Reader, Thanks for picking up this Changes Romance. We hope that
you’ll enjoy reading it as much as we’ve enjoyed bringing it to you. Our goal is to present realistic stories about
girls in true-to-life circumstances, with relationships and problems that readers will understand and appreciate.
In other words, we want to try to capture the changes you’re probably facing in your own life today. We hope we’ve
succeeded, but the only way we can know for sure is to hear from you. Please write us or your favorite Changes authors,
and tell us what you liked (or didn’t like!) about the Changes Romances you’ve read. Tell us how we stack up against your
other favorite books. Tell us about the kinds of stories you’d like to read in future Changes novels. What does romance mean
to you! What kinds of characters do you identify with! Where should the stories take place? What sort of problems or conflicts
should a Changes heroine encounter. In this way we can bring you more of the stories you want to read .... Chloë Nichols]
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- Daniels, Philip. Cinderella Spy. Leicester: Linford, 1984; 1989.
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- Darcy, Lilian. Cinderella After Midnight. New York: Silhouette Books, 2001.
[The Cinderella Conspiracy: Will three daring sisters find true love when the clock strikes midnight? She had the dream
dress, the shoes … and a secret. All she needed was Prince Charming. For “Lady Catrina” was really plain, poor Catrine
Brown — and she didn’t belong at the glamorous ball she’d so boldly crashed. Cat’s mission was desperate, yet success seemed
within her reach ... until her gaze met Patrick Callahan’s across the crowded room. The handsome millionaire bachelor was
everything she despised in a man — wasn’t he? Trapped in his heated stare, Catrina knew Patrick saw through her flimsy
disguise. Come midnight, would he expose her masquerade … or would this magical night last until dawn-and beyond?
“I’m sorry … good night, Patrick I have to go!” “Wait, Cat!” “No, Patrick, I’m late … ” She pushed open the
outer door and ran into the humid June night. But he was still behind her. “Stop! You can’t leave like this, when
we’ve — when I have no idea who you really are.” Cat didn’t listen. Couldn’t listen. Her skin was still alive and hot
from the way they’d touched. But she had no illusions about what Patrick Callahan felt, even if he did. Skittering
down the steps, she felt her spike-heeled shoe come loose. It hurt. Why hadn’t she felt that before? Deliberately,
she kicked the shoe off and left it on the step. Like Cinderella. (Backcover and come-on blurb.)]
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- -----. Saving Cinderella. New York: Silhouette Books, 2001.
[The Cinderella Conspiracy: Will three daring sisters find true love when the clock strikes midnight? Months ago, rancher
Grayson McCall had impulsively married single mom Jill Brown to rescue her from a bad situation. They’d shared a brief, stirring
kiss and then parted, sure they’d never meet again. She’d had a whirlwind wedding — but no wedding night! Now Jill — and her little
boy—arrived in Montana desperate for help once more. She needed a small favor — for Grayson to arrange their divorce! But
when he took his wife into his arms, their kisses were longer and stronger. Would Prince Charming let his Cinderella go? Or
would he claim her for more than one night? Ten more days of him and Jill rubbing up against each other, the way two people
inevitably did when they shared the same space. Ten more days of bumping into her in doorways, of watching the way she ate and
the way she laughed and the way she so tenderly kissed and hugged her son. “Ten days,” Gray thought. “Lord, he was still
shaking! She’s going to be here for another ten days! This would be a whole lot easier if we weren’t married,” he muttered
aloud in his room. There was something about being married. He kept thinking about what marriage meant. It meant sharing.
Sharing their space, as he was doing with Jill. Sharing their stories. They’d begun to do that, too, the very first night
they met. Sharing their lives … And marriage meant one more thing, too. It meant sharing a bed. (Backcover and come-on blurb.)]
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- -----. Finding Her Prince. New York: Silhouette Books, 2002.
[The Cinderella Conspiracy: Will three daring sisters find true love when the clock strikes midnight? Duty-bound to serve his
country, Prince Stephen Serkin-Rimsky readily agreed to marry a beautiful stranger to safeguard the throne. Stephen wasn’t
prepared for the consuming passion Suzanne Brown’s innocent kisses aroused in him-or that their marriage would feel so– right.
Still, this honorable prince knew his tiny country was counting on him to secure custody of their rightful heir–Suzanne’s
baby niece–at whatever cost. Even if it meant turning his back on what his own traitorous heart most desired! “You,”
Stephen said. He was standing beside her, and Suzanne felt the warmth of his forearm against her wrist. She noticed the way his
smile lit up his whole face. Like baby Alice’s smile. Slowly she was beginning to lose that instinctive mistrust she’d had on
first meeting him. Maybe here, at last, was someone else who cared about her orphaned niece. “What on earth can she be
dreaming about that’s making her so happy?” “She’s dreaming about your voice,” he continued. “Your fragrance. The songs you
sing to her.” They were both watching the baby again, intent on every tiny movement in her face. “Am I right thinking you
would give almost anything to be able to bring her up as your own?” Stephen asked suddenly. “Of course I would,” Suzanne
answered. “I love her.” “Then marry me.” (Backcover and come-on blurb.)]
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- Datlow, Ellen, and Terri Windling, ed. Snow white, Blood Red. New York: Avon Books,
- 1993.
[Twenty contemporary revisions of old tales by a wide range of diverse fantasy writers. This volume includes Jane Yolen’s
“Knives” (see Modern Poetry). Also variations on The Frog Prince, Snow White and Rose Red, Little Red Riding Hood,
Sleeping Beauty, Puss in Boots, the Billy Goats Gruff, etc. The Introduction works with fairy tale ideas by George MacDonald,
J. R. R. Tolkien, and Jane Yolen to lament the decline of story-telling as an enterprise of cultural exploration for adults
as well as children. “A true fairytale is, to my mind, very like the sonata. If two or three men sat down to write each what
the sonata meant to him, what approximation to define the idea would be the result? A fairytale, a sonata, a gathering storm,
a limitless night, seizes you and sweeps you away. The law of each is in the mind of its composer; that law makes one man
feel this way, another man feel that way. To one the sonata is a world of odour and beauty, to another of soothing only
and sweetness. To one the cloudy rendevous is a wild dance, with terror at its heart; to another a majestic march of
heavenly hosts, with Truth in their center pointing their course but as yet restraining her voice. Nature is
mood-engendering, thought-provoking; such ought the sonata, the fairytale to be” — George McDonald, in Fantasists on Fantasy,
as cited by Datlow, p. xv.]
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- -----. Black Thorn, White Rose. New York: Avon Books, 1994.
[A collection of eighteen tales rewritten by different authors, four of which are Cinderella variants, including
Tim Wynne-Jones, “The Goose Girl” (1994), Midori Snyder, “Tattercoats” (1994), Daniel Quinn,“The Frog King, or Iron Henry” (1994),
and Peter Straub, “Ashputtle” (1994). The introduction considers fairy tales as the heart of
the culture that, as Tolkien put it, “holds the sea, the sun, the moon, the sky, and the earth and all things in it: tree and
bird, water and stone, wine and bread, and ourselves, mortal men, when we are enchanted.” The introduction discusses 19th century
bowdlerization of fairy tales and laments the ways in which the 20th century has watered them down, retaining mainly
the happy-ever-after of success stories. “How many modern readers know that in the older versions of the tale the sleeping
princess is awakened not by a chaste kiss but by the suckling of twin children she has given birth to, impregnated by a
prince who has come and gone while she lay in ‘sleep as heavy as death’? How many readers know that Cinderella transformed
her life of servitude not with the help of talking mice and fairy godmothers, but with the force of her anger, sharp
cunning, and wits? How many know that it was Red Riding Hood’s nearsighted granny who cried, ‘Oh my, oh my, what big teeth
you have!’ to the wolf, who quickly gobbled her up - and then finished off with Red Riding Hood for dessert, with no
convenient woodsman near to save her?” (p. 2). The power of tales “is due to this ability to confront unflinchingly the
darkness that lies outside the front door, and inside our own hearts” (p. 2). Disney movies and films like Pretty Woman
illustrate the failure of commercial America to catch the essense of the fairy tale.]
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- -----. Ruby Slippers, Golden Tears. New York: Avon Books, 1995.
[Includes twenty-one stories by diverse writers, all based on fairy tales. See especially Tanith Lee, “The Beast,” drawing
upon Beauty and the Beast; Susan Wade, “Ruby Slippers,” that combines Red Shoes with Wizard of Oz; Gene Wolfe, “The Deato
of Koshchei the Deathless,” based on a Russian fairy tale; Farida S. T. Shapiro, “This Century of Sleep; or, Briar Rose
Beneath the Sea,” combining Briar Rose and Sleeping Beauty to approach the Holocaust; Susan Palwick, “The Real Princess,”
using The Princess and the Pea to examine men who look for sensitive and delicate princesses as dangerous and sinister
beings; and Kathe Koja, “Waking the Prince,” which explores Sleeping Beauty in terms of feminist insights.]
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- -----. Fantasy and Horror: The Year’s Best. The Tenth Annual Collection. Ed. Ellen Datlow
- and Terri Windling. New York: St. Martin’s Griffin, 1996.
[Terri Windling’s introduction gives a comprehensive reassessment of the state of fantasy writing, both fiction and poetry,
in the mid 1990s. The volume includes several stories pertinent to this bibliography: Tanith Lee, “The Reason For Not Going To
The Ball (A Letter To Cinderella from Her Stepmother)”; Angela Carter, “The Snow Pavilion,” a posthumously published tale from
one so powerfully influential in the area of fantasy writing and who often contributed to Datlow and Windling’s anthologies;
Lisa Russ Spaar, “Rapunzel’s Exile,” a “dark and horrific rendering of the samiliar fairy tale, speculating on the complex
nature of the relationship between foster daughter and witch” (p. 315); Chang Hwang, “Little Beauty’s Wedding,” a fantasy
story that draws upon Chinese death folklore; Shara McCallum, “Persephone Sets the Record Straight,” a poem exploring
the competition between a girl and a domineering mother that explains why she swallowed the pomegranate seeds:
“Of course I ate those seeds. / Who wouldn’t exchange / one hell for another?” (p. 496); and Patricia C. Wrede,
“Cruel Sisters,” a study in how sisters come to hate each other.]
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- -----. Black Swan, White Raven. New York: Avon Books, 1997.
[Like the earlier collections of fantasy tales, this volume includes twenty-one new reinventions of old stories, such
as Anne Bishop, “Rapunzel,” which examines peasants, greed, and sorcery; Karen Joy Fowler, “The Black Fairy’s Curse,” a
startling retelling of Sleeping Beauty; and Esther M. Friesner, “No Bigger Than My Thumb,” a dark story from a dark
period for women in human history.]
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- -----. A Wolf at the Door and Other Retold Fairy Tales. New York: Aladdin Paperbacks,
- 2000.
[Fairy tale revisions by distinguished writers who loved Fairy Tales in their youth. The volume includes: Delia Sherman,
“The Months of Manhattan”; Jane Yolen, “Cinder Elephant” (see synopsis under Yolen, below); Neil Gaiman, “Instructions”;
Michael Cadnum, “Mrs. Big: ‘Jack and the Beanstalk’ Retold”; Nancy Farmer, “Falada: The Goose Girl’s Horse”;
Tanith Lee, “A Wolf at the Door”; Janeen Webb, “Ali Baba and the Forty Aliens”; Kelly Link, “Swans”; Katherine Vaz,
“The Kingdom of Melting Glances”; Garth Nix, “Hansel’s Eyes”; Kathe Koja, “Becoming Charise”; Gregory Maguire,
“The Seven Stage a Comeback”; and Patricia A. McKillip, “The Twelve Dancing Princesses.”]
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- Davis, Richard Harding. Cinderella and Other Stories. New York: Charles Scribner’s
- Sons, 1896. Pp. 1-35.
[At the annual servants ball of the Hotel Salisbury, two gentlemen observe a young woman of beauty and talent dancing.
A professional entertainer observes that she could make $100 a night as an dancer with just six lessons. The two gentlemen
decide to become sponsors of this Cinderella — this Annie Crehan, who cleans and makes beds on the eighth floor of the hotel
at a poverty wage. But they are detained in the elevator by the elevator boy who plans to marry her and describes their life
together as blissful. He knows that she could make it big on stage, though she doesn’t know it. The promoters decide to let
well enough alone and rather than attempt to be godfathers to “La Cinderella.” They ask the elevator boy to let them off at
the street. The elevator boy remains in possession of his Annie, and she remains ignorant of her talent, but presumably happy.]
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- -----. The Lion and the Unicorn. Illustrated by Howard Chandler Christy. New York:
- Charles Scribner’s Sons, 1904.
[Collection of stories including “The Lion and the Unicorn,” “Cinderella,” “Miss Delamar’s Understudy,” “On the Fever Ship,”
“The Man with One Talent,” “The Vagrant,” “The Last Ride Together,” “The Editor’s Story,” and “An Assisted Emigrant.”]
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- Denny, Roz. The Cinderella Coach. Thorndike, ME: Thorndike Press, 1992; Toronto:
- Harlequin Books, 1992.
[Jade Han was not looking for a prince or any glass slipper when she designed the parade float. But her design won her an
apprenticeship to a California float-building company. The owner of Fantasy Floats, Trask Jennings, does not want to be stuck
with an apprentice designer, especially a spoiled rich kid; nor do Jade’s parents approve of her attempting to develop a
working career. They want her instead to marry her intended, a point which irritates Trask all the more. But neither could
count on their falling in love with each other. Their parade becomes so grand a success that they become partners — for life,
building a legacy for their children.]
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- Diamond, Jacqueline. The Cinderella Dare. Toronto: Harlequin Books, 1988.
[Backcover: Sometimes dreams do come true, but with unexpected results. When Mary Ellen Spencer was finally
able to fulfill all her hopes and dreams and transform herself and her life, she found that it was not so easy to leave
the old self behind. Going from fat to thin and from poor to rich didn’t solve all her problems by a long shot. It took
her best friend, Patsy, to dare her to live the life of Cinderella. But even becoming her fantasy ideal, the elegant Mariel,
didn’t solve the most important problem of all - how to fit the old with the new. Then the goal that overtook all others -
to clear her father’s name for a wrongdoing she was convinced he did not commit - led her to her prince. Skip Toland, once
her high-school dreamboat, had become even better as a man. Flyleaf: Why did he keep telling her she was elegant and
romantic? It felt as if he were talking to someone else, perhaps to the fantasy Mariel. Mary Ellen Spencer in her
high-school years would have given almost anything to hear those words from Skip Toland’s lips. And she would have drunk
them in without question. But Mariel Spencer, age thirty-one, had learned to be cautious. As a girl, each time she gazed
into the mirror, she’d held faint hope that somehow, magically, she would find herself transformed, like Cinderella. And
now, not so magically, the transformation had taken place. So why did she feel like a fraud? This was her face and her
body, but inside there still lived a heavyset woman who rarely rated a second glance from men. And inside, too, remained
the scars of the girl who had fled from her hometown and school, pierced by the curious and sometimes taunting looks of her
classmates, after her father’s downfall. Who was she really? And why did her entire body tingle at Skip’s nearness?]
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- -----. Cindy and the Fella. Duets vol. 89: 2 Romantic Comedies. Don Mills, Ont.: Harlequin
- Books, 2002.
[“Two wonderfully whimsical holiday stories.” See also J. Diamond, Calling All Glass Slippers. Backcover:
Cindy McChad can’t believe it when her fiancé breaks up with her … by e-mail,
no less! Never willing to accept defeat, she heads to California to win back her man. When she meets bumbling
professor Hugh Bemling – who’s in love with her fiancé’s new girlfriend! – the two make a pact to fix this mess. Now if
only Cindy could figure out which fella is really right for her! Flyleaf: “I love this song!” Cindy exclaimed. She began
to shimmy. “Take me in your arms.” Hugh’s throat tightened, and he looped one arm around her waist and took her hand in
his. Before he knew it, they were pressed together so tight that he could practically measure Cindy’s bra size. For the
first time he understood why the Puritans had disapproved of dancing. Those fools! Caught in the moment, Hugh lifted her
chin and touched his lips to hers. When her tongue flicked against his mouth, he claimed a deep, thorough kiss. What was
happening? Shocked, he drew back. “Hugh, are you upset?” she asked worriedly. “I’m sorry. It’s my fault.” “No, it’s not. We
shouldn’t have tempted fate.” She caught his upper arms as if to steady him. “Look, I have to go. I’ll see you tomorrow,
okay?” She collected her purse and went out the door. His midsection still suspiciously tight, Hugh glanced at his
statue of a fertility goddess standing in the corner. He could have sworn she wore a Mona Lisa smile. “This is all your
fault.”]
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- -----. Calling all Glass Slippers. Duets vol. 90: Romantic Comedies. Don Mills, Ont.:
- Harlequin Books, 2002.
[See also J. Diamond, Cindy and the Fella. Backcover: Laura Ellison never
thought her comic play about love would win an award. Now her alma mater is performing it, and her ex is directing! Ten
years ago Jared Benton broke her heart, and she knows fairy-tale endings don’t exist. When she notices that people who
read the play start to fall in love, Laura’s at a loss for words. Even she’s succumbing to her play’s charms … and
Jared’s looking more and more like a prince, not a pumpkin! Flyleaf: “We can get together again tonight –” “No,” Laura
said. “What do you mean, no?” “No dating and no more sex,” she said. “I’m sorry, Jared, but I think we need to keep our
distance.” He understood, even if he didn’t share her apprehension. “We could do nooners,” he said hopefully. When
she shook her head, her red hair gave a suggestive bounce. “It’s not that simple.” “Don’t tell me you’re not tempted.”
Pink tinged her cheeks. “Please accept my decision. I’m sure I’m doing the right thing. We both lost control last night,
and, well, wonderful as it was, I don’t want to repeat the experience.” Glumly Jared accepted that she meant it. But it
wasn’t only sex they were giving up. He wanted to spend more time together doing things – dancing, joking, talking. Yes, it
was probably for the best. So why did he feel as if he’d lost something?]
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- Dickens, Charles. “Cinderella.” In “Frauds on the Fairies,” The Works of Charles Dickens:
- Miscellaneous Papers, Vol I. London: Chapman and Hall, 1929. Pp. 395-400.
[A half-playful, half-serious attack on Cruikshank’s moralistic “Hop o’ My Thumb, by way of parody: Cinderella, age four, is a
member of the Juvenile Bands of Hope. When she is nine her mother dies and is buried by a chorus singing Number forty-two, ‘O come.’
Father remarries a cross widow lady with two proud tyrannical daughters, but dies soon for having to shave in cold water according
to the recommendations of Medical Appendix B. and C. The orphan is forced to work among cinders and thus her name. As she works
she occupies her mind with the general question of the Ocean Penny Postage and the orations of Nehemiah Nicks. Her grandmother
helps her to the ball aided by “an American Pumpkin! American, because in some parts of that independent country, there are
prohibitory laws against the sale of alcoholic drinks in any form” and because America produced among many great pumpkins the
glory of her sex, Mrs. Colonel Bloomer. At the ball the king is unable to greet her because a delegate from the United States
has just moved that the King do take a chair and the motion has been seconded and carried unanimously. But the Prince, covered
from head to foot with Total Abstinence Medals, greets her and falls in love. The ball has to end at a quarter of twelve because
an inspired delegate drank all the water in the decanter and fainted, so the King called for an adjournment until tomorrow.
Next night Cinderella overstays, and loses her shoe fleeing. The Prince advertises in the newspaper (in his land there are
as many newspapers as there are in the United States), and innumerable ladies answer the ad, but none fit the slipper
until Cinderella slips the shoe on, wearing her sensible blue bloomers from her grandmother, without which the Prince would
probably never have seen her feet. As queen, Cinderella applies herself to enlightened, liberal, & free principles:
Anyone who eats or drinks differently from the queen is imprisoned for life, and any who differs in opinion is deemed a
designing ruffian and abandoned monster. She also “threw open the right of voting, and of being elected to public
offices, and of making the laws, to the whole of her sex; who thus came to be always gloriously occupied with public life
and whom nobody dared to love. And they all lived happily ever afterwards” (p. 400).]
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- Dijs, Carla. Cinderella. New York: Dell, 1991.
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- Dixon, W. MacNeile (1866-1945). Cinderella’s Garden. With Illustrations by George
- Morrow. New York: Oxford University Press, [c. 1930].
[Dust jacket: A book for the young of all ages. Three small boys at the seashore watch a crab crawl under a stone and
disappear in the sand. When they dig for the crab they find themselves in a cave which leads through a professor’s study into
Cinderella’s garden, where they meet their cousin Nancy and adventures akin to those of Alice in Wonderland begin. The end papers
include a map of the two lands of dreams beyond the Wan Water, one near the mountains of the moon, where dark things happen, and
the other under the sun where there be many marvells in the warm countrie. On the moon side occur adventures with giants, witches,
and divels many; on the sun side are giant fowl, fays, the unicorn, the cameleppard that eateth of the palm trees, and fairy
godmothers. Cinderella’s cottage is in a walled garden south of the Wan Water. It is graced with a fountain, a cuckoo lodge,
a summer house and, to the north, a dark tower on the moon side and a round tower toward the sun. Outside the wall, to the
south, is a school of experimenters and Pottlepo farm. The professor’s room is situated in the high rochs beyond the cave off
the sandy beach where the small boys enter. Dixon was a Professor of English at University of Glasgow (MA Dublin, D.Litt
Glasgow) who wrote extensively on Elizabethan and Jacobean drama.]
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- Dobbs, Mary Lou. The Cinderella Salesman. Rockville, New York: Farnsworth, 1982.
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- Dooley. E. J. Cinderella Up-To-Date; or, The Lover, The Lackey and the Little Glass
- Slipper. E. J. Dooley, 1903.
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- Douglas, Amanda Minnie (1831-1916). A Modern Cinderella. Chicago: M. A. Donohue,
- 1913.
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- Duncan, Sara Jeannette (1861-1922). Cousin Cinderella. Ottawa: Tecumseh Press,
- 1994.
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- Elmer, Isabel Lincoln. Cinderella Rockefeller. New York: Freundlich Books, 1987.
[See the entry under Autobiography.]
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- English, Clara. Children in the Wood. New York: McLoughlin, [18??].
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- Erskine, John. Cinderella’s Daughter and Other Sequels and Consequences.
- Indianapolis: Bobbs-Merrill, 1930.
[The Prince falls in love with his own daughter and is confronted with his twisted desires at the ball. She is patient
as Griselda. Includes Beauty and Beast components in her retreat to safety.]
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- Farjeon, Eleanor (1881-1965). The Glass Slipper. Buccaneer Books (Harmony Raine &
- Company), 1981. Reissued Lippencott, 1984.
[A well-told story of Ella and her friendly talking animals, who help her to endure the nasty stepsisters Arethusa and
Araminta and the wicked stepmother until she finds her happy ending with the Prince, who had searched long for the Princess
from Nowhere. At the ball she overstays the deadline but the other women simply think she is a serving girl and pay no
attention. The prince likewise ignores her, until he learns to see better. In thirty chapters. See Ellin Greene’s discussion
under Criticism. See also Farjeon’s musical The Glass Slipper, performed in London in 1944 and 1945 under
Pantomime Productions.]
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- Feather, Jane. The Diamond Slipper. New York: Bantam Books, 1997.
[Dust jacket: What comes to mind when you think of a diamond slipper? Cinderella, perhaps? That’s what Cordelia
Brandenburg imagines when her godparents arrange a marriage for her with a man she’s never met–a marriage that will take her to
Versailles, far from the rigid confines of her childhood home. The betrothal gift is a charm bracelet with a tiny, glittering
diamond slipper attached … as befits a journey into a fairy-tale future. But Cordelia–young, headstrong and completely
adorable–runs into trouble right away. Her escort to the wedding is the golden-eyed sensual, teasing Viscount Leo
Kierston. For Cordelia, it’s love at first sight. Yet Leo seems to see only a spoiled child–perhaps it’s the way she
cheats at chess–and Cordelia is determined to show him the woman beneath. There is, however, no escaping her arranged
marriage. She’s devastated to discover that her new husband is an utterly loathsome tyrant who will stop at nothing to
satisfy his twisted desires. Cordelia struggles courageously against a man determined to break her spirit. But her husband
has a secret, one that will bring down the vengeance of her beloved Viscount Kierston.]
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- Ferré, Rosario. “The Poisoned Story.” In The Youngest Doll. University of Nebraska,
- 1991. Pp. 7-18.
[A woman reader is poisoned by the ink of a book of fairy tales, and by the time she dies we see that her life has been a
fairy tale gone wrong. A proletarian Cinderella who married an impoverished sugarcane plantation owner, she metamorphosed
into a wicked stepmother to his daughter and is poisoned by the patriarchal fantasies she swallowed when young.]
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- Fleury, Jacqueline. The Cinderella Bride. Thorndike, Maine: Thorndike Press, 1990.
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- Fredrickson, Michael. A Cinderella Affidavit. New York: Tor Doherty Assiciates Book,
- 1999.
[Backcover: A routine drug bust goes awry in Boston’s Chinatown, killing a police officer as he batters down the
door to execute a no-knock search warrant. The police arrest the man, but the court orders them to produce the confidential
snitch whose information was the basis of the bust. The search for the informant will plunge lawyers on both sides of the case
into the legal battle of their lives. High-placed politicians, Chinese mobsters, and Boston’s power elite will be dragged into
court, their fates riding on the identity of this mystery informant, an informant known only as Cinderella. “Frederickson draws
upon his legal expertise for a cunning story of crime, corruption, perjury, and murder in Boston”–The Boston Globe.
“Frederickson’s insight into the legal process adds authenticity to a fast-paced intriguing, multifaceted tale”–Publisher Weekly.
“Frederickson shows grit and an acute sense of humor as he skewers the entire legal class system, blue to white collar”–Entertainment Weekly.
Flyleaf: “A legal thriller so savvy and well written it’s hard to believe it’s a first novel. The dialogue is literate,
often funny, and all the characters live and breathe”–Kirkus Reviews. “Move over John Grisham, Esq. Watch out Scott
Turow”–Lawyer’s Journal. “A witty, intelligent journey through big firms and prosecutors’ offices that should be
familiar to any lawyer”–Virginia Lawyers Weekly. “A towering achievement!”–Massachusetts Bar Journal.
“A book you can’t put down; exciting, full of twists and turns, it is a fast-paced thriller”–Barry Reed, author of The Verdict.]
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- Fulton, Maude. Cinderella of the Storm. Chicago, 1928.
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- Garbera, Katherine. Cinderella’s Convenient Husband. New York: Silhouette Books,
- 2002.
[Backcover: Meet the Connellys of Chicago — wealthy, powerful, and rocked by scandal,
betrayal … and passion! A second chance at love? Wealthy Chicago attorney Seth Connelly told himself he’d married Lynn
McCoy only to save her family ranch. The Sagebrush, Montana, spread had once been his salvation, though Lynn had been his
nemesis. But the troublemaking brat had turned into a fresh-faced beauty. Though only days from foreclosure, Lynn was no
Cinderella waiting to be rescued. Just as well, since silver-eyed Seth was no Prince Charming. She fantasized about the
only kiss they’d ever shared, fourteen years ago, and yearned to be held again in his rock-hard arms. To be made his wife,
in every sense of the word. Seth wanted marriage, too – but without love. Or so his loner heart said. Passionate,
powerful, and provocative. Fly leaf: Around Chi-Town: Looks like the Connellys have been plunged into scandal yet
again–Grant Connelly’s former lover, Ms. Angie Donahue, has been arrested! Sources report that Ms. Donahue, the mother of
Grant’s illegitimate son, Seth Connelly, is the niece of Chicago’s most influential mob boss, Jimmy Kelly. Police
investigations leading up to her arrest indicate that the Kellys may be behind the recent spate of troubles that have
plagued the prestigious Connelly family these last few months. And how is Seth Connelly, a well-respected attorney in the
Windy City, taking the news? It means that Seth has taken an undetermined leave of absence from his law practice and from
Chicago. Sources close to the thirty-two-year-old bachelor say he has been devastated by his mother’s revelation, but won’t
reveal his location. The Connelly troubles don’t end there. Following police questioning, Grant’s longtime assistant,
Charlotte Masters, has also gone missing – and rumor has it that her life may be in danger. And she’s not the only one.
Police report that hotshot P.I.Tom Reynolds, hired to protect the family, has turned up dead, the apparent victim of foul
play. In the wake of these latest disclosures, we expect local sympathies to be with Seth, a reserved lone wolf who never
became a true bachelor-about-town like so many of the Connelly sons. Chicago awaits his return!
Seth Connelly–Deceived and betrayed by his heritage once again, he runs away, back to his cowboy roots, hoping to find
himself, to heal … Lynn McCoy–she knows what it’s like to be betrayed by someone you love – and now she, too, is paying the
price. Angie Donahue–Seth’s mother; she allowed his father Grant Connelly, to raise him, but the havoc she wreaks finds
her son wherever he hides.]
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- -----. Overnight Cinderella. New York: Silhouette Books, 2001.
[Backcover: Duke Merchon was light years ahead of co-worker Cami Jones in bedroom expertise. Still, the plain-Jane
stirred his fantasies, but Duke vowed to keep a safe distance from her thousand-watt smile. Orphaned as a child, he’d learned
to deny his boyhood dreams of love and family. Then Cami suddenly traded in her modest librarian façade for a stunning
grace and beauty, and Duke felt his firm footing in Bachelorville slipping. And fast. For he couldn’t resist showing this newly
sensuous woman the laws of physical love. And when Duke held his overnight Cinderella in his arms, he felt transformed … into Cami’s Prince Charming! “Describe this dream lover,” Duke said, teasing himself with the idea of her voice painting sensual
images. Cami smiled widely and closed her eyes. “This man of mine is a white knight of old. He’s fought hard in battle and lost
everything dear to him, but he craves ties to the land and the future. He sees me in his future. He sees past my surface to
the passionate woman underneath. The woman I’ve always longed to be. He unlocks me from my slumber as surely as Prince Charming
awakened Sleeping Beauty with one pure kiss.” Duke stared down at Cami. Her eyes were closed, her head tipped back and her
body pressed to his. He realized she must be a virgin. Only a woman who’d never shared her body with a man would expect a pure
kiss to awaken her desire. Only a woman as sweet as Cami would share the fantasy of her soul with him. And it moved him. But
could it move him to marriage? - Flyleaf. Yes it could. Today he was marrying the sexy little tornado that had shaken
his world and rearranged it … What had he done to deserve her? (p. 183).]
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- Galitz, Cathleen. Wyoming Cinderella. New York: Silhouette Books, 2001. No. 1373.
[Backcover: Georgeous multimillionaire William Hawk was caught in a tornado-and her name was Ella McBride! The
tantalizing nanny brought order to his children but left Hawk’s senses spinning out of control. A massive, primal desire
hammered at his resistance. He simply must keep his luscious live-in temptation out of his bedroom! But how to avoid her
bedroom eyes? Ella felt utterly transformed! In Hawk’s arms she was the most beautiful woman on earth, a sensuous princess,
his Wyoming Cinderella. And with just a little coaxing, this sexy older man had introduced her to womanhood. Now would it
be Ella’s turn to usher him into husbandhood? Flyleaf: “Would it help if I apologized for kissing you last night?”
“A lady usually doesn’t like to hear a man say he’s sorry for kissing her,” Ella replied, stepping away from the stove.
Hawk had expected her to give a sigh of relief. Instead, she faced him down with a spatula and the most refreshing
sincerity he’d encountered in years. “What do you suggest we do, then? Would silverware at ten paces be fitting?”
“I prefer steak knives myself.” “Perhaps if you’d be willing to call a truce, I’d offer to set the table.” Hawk reached
around her to open the silverware drawer. The lightest touch of his arm against her body was enough to set her imagination
sailing for erotic destinations. The thought of those arms wrapped around her waist … Of his big, masculine hands
caressing her … Of stepping back and cuddling her body against his in a fit as perfect as the two spoons he lifted out
of the silverware drawer. Conclusion: “A once-upon-a-time skeptic, Ella allowed herself to accept the fairy tale
ending that truly belonged to her. Circumstances of birth and lack of opportunity were nothing in comparison to how
this wonderful man made her feel. No longer the ugly duckling of her youth, she was
transformed into a real-life Cinderella and made beautiful not ty the twirling of a godmother’s wand,
but by the power of Hawk’s eternal love” (p. 185).]
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- George, Charles. A Country Cinderella. New York: Fitzgerald Publishing Corporation,
- 1931.
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- Gill, Judy Griffith. The Cinderella Search. Toronto: Harlequin Books, 1998.
[Lissa Wilkins had kissed enough toads disguised as Prince Charming to learn not to trust men. So now, with Steven Jackson
on the scene, she steered clear of his Prince Charming vibes. Steven had dated lots of women, but no one fit the glass slipper
of his dreams. He hoped to buy Lissa’s father’s hotel, but Lissa had her own plan. She would play ghost and scare the
unwanted buyer away, except that she came crashing through the ceiling into his arms, where she felt those delicious vibes
all over again. But she fled, leaving behind one ugly sandal. Steven set up a booth at the town festival, insisting that he
would try the shoe on every woman in town in hope of figuring out who the woman who fell through the ceiling was. Even if the
shoe did not fit he promised to kiss the one who tried, which turned all the women on, except Lissa. She held out, but at the
end, Steven proved so charming that even though she knew that charmers were bad news, no matter how intoxicating their
kisses, she let the slipper be fitted where it belonged. Still, she distrusted Steve. But at last she agreed to marry him,
and the hotel will stay in the family — for the grandchildren.]
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- Gordon, Karen Elizabeth. The Red Shoes and Other Tattered Tales. Normal, Illinois:
- Dalkey Archive Press, 1996.
[Tatters of half-a-dozen tales (The Glass Shoe, The Ginderbread Variations, The Little Match Girl, Don Juan
Is a Woman, The Red Shoes) sewn together with notes in an ABC alphabet romp through the language of sensuality. In the
Dramatis Personae Cinderella is the “resiliently abused stepchild whose secret rebellions in both fact and fantasy forge her
liberty. Seeing past mere wish fulfillment, she unmasks social form and ceremony in her unabashed dealings with the prince”
(p. 7). She appears in such entries as BUBBLES (from The Glass Shoe), a letter to her father wondering how he ever
came to lay his head among the bosoms of this family that works her to death and calls her Ashtray, Dustrag, Mopsy, and
Smudge — “I was so hungry I started gnawing at my cuticles” (p. 26); or COAT: A fine coat of lust lay over every thoughtful
surface of the room. “This could be either Cinderella out of her drawers, or Jonquil, thinking of love as ‘a little adventure
looking for the right surface to happen upon’ or ‘stretching myself out, in case someone wants to leave a message
plastered to my body’” (p. 35); or SCHMATTE (from The Glass Shoe): I scratched my schmatte and / proceeded with the floor.
“Cinderella, or Cendrine, as she is called in Cendrine and the Garcon Flambé, a video by Jean-Jacques Passera,
picked up a few Yiddish expressions from the shops in the village, so it is not surprising to come across entries in her
diary like: ‘I was polishing the tsatskelehs when the doorbell rang and I opened the door to a dwarf selling hairbrushes’
or ‘I schlepped my bucket up the front stairs to do Agfa’s room, but her door was locked and a sign that read MUSE PLEASE
dangled from the doorknob, so I figured she was at it with her pathetic fallacies, and tiptoed off for une petite somme
in the attic instead’” (p. 135).]
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- Grandpapa Pease’s Cinderella. Albany: Fisk and Little, 1855?.
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- Griffiths, Michael. Cinderella With Amnesia. London: Inter-Varsity Press, 1975.
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- -----. Get Your Act Together, Cinderella!. London: Inter-Varsity Press, 1989.
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- Haddix, Margaret Peterson. Just Ella. New York: Simon & Schuster, 1999.
[Dust jacket: Like every commoner in the land, Ella dreams of going to the ball and marrying Prince Charming.
But after she is chosen to marry the prince, life with the royal family is not the “happily ever after” that Ella imagined.
Pitiless and cold, the royals try to mold her into their vision of a princess. Ella’s life becomes a meaningless schedule of
protocol, which she fears she will never grasp. And Prince Charming’s beautiful face hides a vacant soul. Even as her life
turns to misery, the stories persist that Ella’s fairy godmother sent her to the ball. How else could the poor girl wear a
beautiful gown, arrive in a coach, and dance in those glass slippers? But there is no fairy godmother to help Ella escape the
deadening life of the castle. She learns that she must do things on her own, makes her departure. The prince ends up with the
step family, who are more easily molded. Ella escapes, mindful of an old woman from the village who said, “Happy was like
beauty - in the eye of the beholder. Ella makes contact with an old friend Jed. But more important, she likes the way
she is living her new life as she goes back to work.]
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- Harbison, Elizabeth. Emma and the Earl. New York: Silhouette Romance, 1999.
[A Cinderella Brides Romance, no, 1410: These women are living out their very own fairy tales, but will they live happily
ever after? Backcover: In love with an earl? Impossible! American Emma Lawrence knew she was too ordinary to ever
have a British aristocrat fall in love with her! But when she found herself locked in the earl of Palliser’s embrace,
her heart couldn’t help but hope. Now ensconced on Brice Palliser’s lavish estate, Emma saw how different her everyday
life was from the earl’s. And though Brice made her feel like the belle of the ball, when the clock struck midnight,
would Emma be left with a pumpkin carriage, or the keys to Brice’s heart? Flyleaf: It looks like a fairy tale.
Emma smiled up into Brice’s eyes, “It’s positively enchanting. Even the hardest of hearts would be moved by this kind
of beauty.” Brice looked down at her in the darkness and realized his hard heart was moved, but not by the lights or the
garden or the star-filled sky. Their movements slowed until finally they were standing still, locked in each other’s
arms, gazing into each other’s eyes. He wanted to kiss her. He was fairly certain she wanted the same thing. He looked
at her. “I’d never want to hurt you, Emma.” “Hurt me? What do you mean?” After a moment, Brice shook his head. “I only meant
that I would never try and take advantage of your trust. Remember that. No matter what happens.”]
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- -----. Plain Jane Marries the Boss. New York: Silhouette Romance, 1999.
[A Cinderella Brides Romance, no. 1416: These women are living out their own fairy tales, but will they live happily
ever after? Backcover: “Schedule a wedding … and find me a wife!” It had taken five years, but Jane Miller’s
dynamic, handsome and commanding boss had finally proposed — even though she knew he’d never seen the shy, yearning
glances she’d sent him. She was so happy she could cry — and did when she heard the rest of the plan! Because although
this was a real wedding, it wouldn’t be a real marriage. Trey Breckenridge III had buisness mergers in the making, and
needed a wife to seal the deal. But “Plain” Jane made an additional wedding vow — that before the honeymoon was over,
Trey would realize just what he’d been missing all these years. Flyleaf: “You really saved my life tonight.”
Jane’s cheeks flushed. “I don’t think that’s true.” Trey took her hand in his. “It’s true, he said. “And I won’t forget it.
But at the moment I’m more concerned about what it will take to convince my secretary, who is a tremendously professional
woman as well as a splendid actress, to be my fiancée for just a little bit longer.” Tiny shivers ran up Jane’s bare arms,
though whether it was from his touch or from his proposition, she couldn’t say. “You could try just asking me.”
“Would you be my fiancée, Jane?” She smiled reassuringly, ignoring the voice inside her that said she was
betraying herself and that she’d never be able to keep up this act without a huge emotional risk. “Yes, Trey. You can
count on me.” Epilogue: Trey reached for Jane’s hand under the table and leaned close. “Care to dance,
Mrs. Brekenridge?” She frowned and looked around. “There’s no music.” “Ah, that’s where you’re wrong.” He stood up and
pulled her into his arms. “We hear our own music.” She leaned her cheek against his shoulder and smiled as he tightened
his arm around her and started to sway gently. “I hear it now,” she said. Outside the window, the silver bells from
the church where they had just renewed their vows rang across the distance.]
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- -----. Annie and the Prince. New York: Silhouette Romance, 2000.
[A Cinderella Brides Romance, no. 1423: These women are living out their very own fairy tales, but will they live happily
ever after? Backcover: Someday her prince would come. Librarian Annie Barimer always played by the rules and the result
was dullsville. So when she had a chance to tutor two little princesses, well, how could she resist? Soon Annie found herself
working in a faraway castle — and falling for her very own prince! Or she’d go after him! Prince Johann was everything she’d
longed for, and more. Handsome, commanding, yet tender, he was just about perfect. Now if only he would guarantee her dreams
came true! Flyleaf: It was joy he was seeing and hearing. His children and Annie were laughing as they pounded snow
into balls and tossed them at each other. Annie looked at him then, and something between them connected and he nearly
smiled back. What would it feel like, Hans wondered, to just give in to the urge to take her into his
arms? What would it be like to kiss her? He was overwhelmed by the urge to try. God, she was lovely. Maybe it was the
soft light, or the drifting snow, or the crisp chill air, but suddenly Annie looked delicious enough to eat. And he was hungry.]
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- Hardy, Alice Dale. The Flyaways and Cinderella. Illustrated by Walter S. Rogers.
- New York: Grosset & Dunlap, 1925.
[The first of several Flyaway novels dealing with fairy tales. The Flyaway family — Pa, Ma, Tommy, and Susie — is “part real and
part fairy.” They live in a great tree high above the ground. “Ma Flyaway was a stout, good-natured lady, with a smiling face
and jolly eyes. She loved three things. One was children, the second was cooking of all sorts, including making the of pies,
puddings, and cakes, and the third was to dress in silks and satins and pretend she was a Fairy Godmother or a Queen” (p. 4).
Under pressure from the children they decide to go fairylanding in Pa’s dirigible in hope of finding Cinderella so that Susie
might try on the glass slipper and Tommy see the Prince’s sword. On the way they bump into Jack’s beanstalk and visit with
Mother Hubbard, then finally find Cinderella weeping by a stream. The Prince has been taken captive by three Black Robbers
and a mean elf. Pa sets out to rescue the Prince and does so with the help of a magic whistle and the ingenuity of Ma
and the children, as well as his own cleverness. But once safe back at the palace Cinderella disappears, stolen away by
a Glass Man who takes her in a cloud of steam to the Candy King, who would force her to make sugar plums for him. She in
turn is rescued with the aid of the dirigible and the threat of dropping rocks on the candy shop, and all return to the
palace and then home. Pa promises the children to go fairylanding again. Two of the sequels include The Flyaways Little
Red Riding Hood and The Flyaways and Goldilocks.]
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- Hare, Walter Ben (1880-1950). A Southern Cinderella. Chicago: T. S. Denison, 1913.
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- Harrington, Rebie. Cinderella Takes a Holiday in the Northland. New York: F. H. Revell,
- 1937.
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- Hayes, Margaret Gebbie. The Pussy Cinderella. Philadelphia: G. H. Coughlin, 1915.
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- Hayes, Sally Tyler. Cinderella and the Spy. New York: Silhouette Books, 2000.
[Backcover: A woman worth waiting for. Undercover Agent Joshua Carter had only wanted to help sweet Amanda
Wainwright. Instead, her being seen with him had put the shy secretary’s life in danger … and under his twenty-four-hour
protection. But from the moment virginal Amanda stepped into the playboy’s apartment, it was Josh’s life that was on the
line, because he still remembered one long-ago, stolen kiss. And although Josh had tried to act honorably by giving Amanda
space, her fragile vulnerability still called to him and awakened every male instinct. Now Josh wanted a future. Could he make
this inexperienced beauty see beneath the playboy façade to a heart that beat true blue? Flyleaf: “I’m nothing like the
woman you normally chase. I’m … ” “What?” he asked gently. “Plain,” she choked. “Ordinary. Boring.” “I’ve never been
bored with you, Amanda, and I don’t think there’s anything ordinary about you.” Amanda sighed, not wanting to
continue this conversation with him. Josh was rich and dangerous and absolutely gorgeous. She’d seen him in the society
pages, photographed with some of the world’s most beautiful women hanging on to his arm. She’d spent more time than she
should have looking over those photos, wondering about his life. Fantasizing about him. She was not the kind of woman he
dated, not the kind he should notice. “Josh-” she began. “Careful. I’ll think you’re fishing for compliments.” “I’m not.
I know what kind of woman I am.” “You don’t have a clue, Amanda, Did you ever stop to think that maybe you don’t know
me as well as you think you do, either?”]
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- Hendry, Lee. A Gown For Cinderella. Minneapolis: T. S. Denison, 1951.
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- Henry, Anne. Cinderella Mom. Harlequin American Romance. New York: Harlequin Books,
- 1992.
[Calendar of Romance title for the month of May–a special Mother’s Day issue. How can Sara, a widowed mother of two,
with a delicious warmth in her veins from the wine, caught up in the strong arms of Prince Charming Julian, explain not
coming home to the kids? Must the fairy tale end with the dance at midnight?]
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- Hillert, Margaret. Cinderella at the Ball. Chicago: Follett Publishing Company, 1970.
- Also Cleveland: Modern Curriculum, 1970.
[See Perrault under Children’s Illustrated Editions.]
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- Historical Christmas Stories. Harlequin Historical Series. Toronto: Harlequin Books, 1989.
[Includes an adaptation of Perrault’s Cinderella.]
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- Hoadley, John Chipman (1818-1886). Description of the Portable Steam-Engine
- Cinderella. Boston: A. Holland, 1870.
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- Hoban, Russell. The Mouse and His Child. New York: Harper & Row, 1967.
[“The mouse child’s vision of a happy family, which begins in the toy shop, is shattered when the clockwork
father mouse and child are broken and thrown on the rubbish dump. From there, through the cinders and wilderness,
they wander on a quest, struggling to survive, hoping to become self-winding and to regain the lost ‘family’”–Gough p. 102)]
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- Holyoke, Hetty. “Cinderella.” In Peterson’s Magazine 31, June, 1857. Pp. 199-202.
[A plain girl, always in trouble at school, she dresses in a calico dress made from material her mother got for her at
an auction for damaged goods and walks through evil and good report, serene as a sybil. Her two sisters, Melissa and Miranda,
are proud and beautiful. When Mrs. Nute becomes ill with a serious illness Cinderella must drop out of school to care for
her, a nurse to one neither grateful nor easily pleased. Years pass as Cinderella sits in the chimney corner of her mother’s
sick room, grotesque as ever in her dress, yet still serene. She becomes seamstress for the whole family, as well as
housekeeper. But the young student who comes with old Dr. Gray to care for Mrs. Nute takes a liking to Cinderella. He
flirts with Miranda, talks metaphysics with Melissa, but would marry Cinderella. He dresses her well, and to the amazement
of all, she is beautiful. But the marriage takes place only later, after Edward Gray returns with his fortune from
India, when he meets Cinderella again, now the governess of old Abraham Marvel’s grandchildren. Their home becomes
“a centre of all refining, genial influences.”]
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- Howard, Barbara. Her Heart’s Challenge, or, A Beautiful Cinderella. New York: Street
- and Smith, 1899.
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- Huth, Angela. “Another Kind of Cinderella.” In Another Kind of Cinderella and Other
- Stories. Boston: Little Brown and Company, 1996. Pp. 1-25.
[Reginald plays second chair fiddle in the orchestra for the Cinderella pantomime. He lives with his demanding mother,
Mrs. Breen, who makes him account for every minute according to her liking. He fantasizes about dating Valerie, the
sweet-voiced beauty who plays Cinderella. She seems close to Bev, who plays Prince Charming, but finally he gets up courage
to ask her to have coffee with him on an afternoon when his mother thinks he has rehearsal. She agrees to see him, but on
another day. He joins her, even though he knows he will have to endure his mother’s wrath. Valerie wonders what Reg expects,
he being so much older and essentially a loser. He asks to be given the chance to spend his savings on her; she smiles and
insists that she must meet with Bev: “You’re a nice guy, but I’m another kind of Cinderella.” When he gets home his mother,
plumped with indignation, her obscene legs swing, scolds him and mocks, “What kept you then? Dancing with Cinderella.”
As she laughs sneeringly at him he “swung his violin case above his head, and moved towards her in silence before they
both screamed.”]
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- Irish, Marie. A Twentieth-Century Cinderella. New York: Edgar S. Werner and Company,
- 1905.
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- Japrisot, Sebastian. Trap for Cinderella. New York: Simon Schuster, 1964; New York:
- Pocket Books Inc., 1965. First Published as Piège pour cendrillen. Paris: Editions Densël, 1962. Winner of Le Grand Prix de la
Litterature Policiere.
[Backcover: Was she the murderer or the murdered? At a French resort, two young girls share a house on the beach.
When fire guts the house only one of them survives. Either of them might have said this: “I am twenty years old. I am about
to tell a story. It is a story of murder. I am the murderer. I am the victim. I am the witness. I am the inquisitor. I am
all of these. But who am I?” Flyleaf: He clapped his hand over my mouth and pushed me inside the garage. “I heard
about the fire … that one of you had been killed,” he said. “I’ve been watching you since, and I know who you really are.
And now I want my cut.” I was out of breath. I wanted to scream, but I lacked the strength. “Don’t be a fool,” he said.
“You know very well you killed her!” I nodded my head. “Let me go please.” “I can bother you or leave you alone,” he said.
“The price for not bothering you is two million francs.” Synopsis: Micky is heir to a large estate. Her godmother
becomes unhappy with her for her careless ways with money and boys. Domenica Loi, a working girl, befriends Micky and
wheedles her way into the godmother’s favor and, through deceitful letters, into the old woman’s will, even at the cost
of her friendship. Domenica and her boyfriend, Serge Reppo, plan the murder of Micky, though she does not know this
until later. A fire at a French Resort kills one of the girls and badly burns the other, who loses her memory and is
unable even to know which of the two girls she might be. Serge knows she is Micky and tries to frame her, accusing her
of starting the fire twice in her effort to kill Domenica. Jeanne Murneau, Micky’s nurse, tries to help her back to full
consciousness of who she is, hoping to win a portion of the deceased Godmother’s estate for herself. Micky kills Serge as
he tries to blackmail her, insisting that she murdered Domenica. Micky and Jeanne are brought to trial. Jeanne is
sentenced to 30 years in prison for her fraudulent schemes to get the estate. On grounds of lack of sanity, Micky is
acquitted of the murder of Serge, but sentenced to 10 years prison as Jeanne’s accomplice. Only in prison does she
regain enough of her memory to know that she is Micky. As the gendarme escorts her to prison she becomes calm. The
man’s cologne reminds her of a scent of an Algerian military man who courted her in his youth. The nauseating
cologne that haunted Micky was called “Trap for Cinderella.”]
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- Jenkins, E. Lawrence. Cin
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