I’ve worked with Danielle many times. She’s one of the hardest working people in the indie and small press scene. This Kickstarter has just three days to go. I think you should check it out.
New Tales for Old…Retelling Classic Faerie Tales
It is always a challenge to rewrite a classic. You want to do it justice and capture the feel, but you also want to transform it and make it your own. When I had the idea to write a steampunk version of Ali Baba and the Forty Thieves one of the most important things for me was being culturally accurate. Not exactly easy when you are writing steampunk in an area not known for steampunk. I chose to approach this using two essential tools: a cultural consultant and history.
My cultural consultant—Day Al-Mohamed—ended up being my co-author. Not only did she help keep things accurate in terms of culture and faith, but also in capturing the essence of Middle Eastern storytelling conventions.
And the history…history offered a treasure trove of material that couldn’t have been more suited to our task if we’d written it ourselves. Both of us discovered many elements from the time period and before that supported our rendition of this story as a steampunk faerie tale.
Day and I would like to share with you a little of our experience writing Baba Ali and the Clockwork Djinn.
From Danielle Ackley-McPhail:
The East has a strong tradition of technological wonders. From puzzle boxes (Himitsu Bako) to automatons to urban infrastructure, all of which we wove through our tale. One of the things I uncovered in my research was a Middle Eastern engineering book from the 13th century…yes, the 13th century. The title is The Book of Knowledge of Ingenious Mechanical Devices written by Al-Jazari. The book is significant enough to be republished even in modern times. What better foundation to support Ali’s interest in the art of building mechanical things.
From Day Al-Mohamed:
I’m going to tell you about something that is in Baba Ali and the Clockwork Djinn but shouldn’t be. Our book is based on the story “Ali Baba and the Forty Thieves” from 1001 Nights (also referred to by many as Arabian Nights) and unlike the various Disney versions or even the famous Burton translation (trust me, that’s the version most people have read), we decided to be as authentic as possible and to go back to the sources: The first collection to ever be seen in Europe came from a 14th-century Syrian manuscript translated (very loosely) by Antoine Galland in the 1700s; and a second version, the Zotenberg’s Egyptian Recension, from the 1880s, which is the more “complete” version of the 1001 Nights. (Yup, big history nerding-out here.)
Here’s the big secret: Most people know the phrase “Open Sesame” from their own experiences or childhood familiarity with the 1001 Nights. They are the magic words to open the treasure cave. What is interesting is that those words, as a magical means to open the cave, first appeared in Antoine Galland’s 1700s translation of the 1001 Nights. They did not exist in any earlier oral or written variants of the tale. It was completely made up by the Frenchman to make the tale seem more exotic.
“Open Sesame” is more fake than any modern interpretation or changes to the “Ali Baba and the Forty Thieves”, but because it is so ingrained into Western society’s idea of a magical cave of wonders, we couldn’t get rid of it!
Five years ago Baba Ali and the Clockwork Djinn was released and immediately went out of print. We are thrilled to be able to rerelease the book through eSpec Books. We are currently running a campaign to fund the publication of this new edition, if you would like to check it out on Kickstarter.