Introduction to this Stone Soup Writing Activity This writing activity is based on a story by 13-year-old Joanna Calogero published in Stone Soup Magazine’s September/October 1992 issue, and also included in the Stone Soup Book of Fantasy Stories anthology. Read the story, “Doll Shop Magic,” on our website here. Joanna’s story is a fairy tale, a story in which a supernatural force rescues a good person from a desperate situation. While it is a fairy tale, it is a modern fairy tale. The action takes place in a big city among people who all act and think like average modern people. In fact, while it is pretty clear that something very magical happens in this story to save the main character, Sam, from his landlord, Mr. Murphy, Sam is never sure what saves him. Maybe it was just luck. Maybe the girl and the doll were a dream. Sam, like most modern people, doesn’t believe in fairies. Notice how thoroughly Joanna develops the reality of Sam’s life and problem. His city has changed, his doll store is no longer in the part of town where people shop, and the new landlord, like the city itself, is no longer friendly or tolerant. The modern city doesn’t encourage romance and magic. And so, throughout this story, the question remains unanswered: Did more than just good luck enter Sam’s life? Project: Write a Story in Which a Likeable Person Is Rewarded Through Magic or Luck Your character does not have to be perfect, just likeable. But your character should be struggling against a mean or uncaring person. In traditional fairy tales the bad person is very bad: typical examples include an ogre, an evil stepmother, or an evil witch. In Joanna’s story, “Doll Shop Magic,” Mr. Murphy, the landlord, plays the role of the more traditional evil fairy tale character. But Mr. Murphy is not really bad, like a criminal or an ogre. He is bad the way the modern world is bad. He is insensitive, uncaring, and inflexible towards a fellow human being. In your story, show us how a kind person who desperately needs help finally gets it in an unexpected way. Whether the unexpected is clearly magical or whether it just seems a coincidence is up to you. Or, like Joanna, you can blur the edges between reality and fantasy so we never really know. Pay attention to the setting in which your story takes place so that no matter what happens you give the reader a sense that at least the place and the main character are real.
Writing Activity: make a fictional creature seem real, with “The Baron, the Unicorn, and the Boy” by Ogechi Cynthia Njoku, 12
Introduction to this Stone Soup Writing Activity Ogechi’s story, The Baron, the Unicorn, and the Boy, is about an ordinary boy, Albert, and how he is rescued from the boredom of a school outing by a dream-like adventure in a fairy-tale past. Ogechi’s writing is clear and forceful. Like all good fairy tales, her story can be read as a pleasant tale. The familiar elements — the kind, bewitched king, the lovely unicorn, the powerful ruby, and the arrogant baron — are like familiar friends or favorite foods that make for a satisfying few minutes’ entertainment. Also, though, like all good fairy tales, Ogechi’s story can be read on a deeper level. Albert was lost in a museum. But at some point in most people’s lives they feel themselves to be lost and without purpose. At those times it is natural to dream of adventure and radical change. This is the spirit behind the fantasy of daydreams. Rarely, but it does happen, adventure reaches into our ordinary lives as it reached into Albert’s. By some amazing chance we win a game when usually we are a terrible athlete. Or there is a hurricane or some other natural disaster and suddenly there is lots to do and we do it. Albert woke up from his adventure to find a necklace around his neck. Others wake up to find a trophy on their bedroom shelf or read about themselves in the morning paper. Did I really do that? Most of us are like Albert. The adventure suddenly appears in our life and when it is over we have little more than a memory and a souvenir. Project: Write a Story in Which an Ordinary Person Is Suddenly Involved in an Adventure and/or Fiction Becomes Real Whether your adventure is grounded in reality, like a sporting event or a natural disaster, or whether it is a fantasy, like Ogechi’s story, try to create a believable world. Ogechi’s treatment of the unicorn provides a model for how to make a fictional creature seem real. Notice that, in addition to mere physical descriptions, Ogechi show us the unicorn as a living, thinking creature. She does this by showing us how the unicorn and Albert communicate with each other. When writing your story, always remember that if you can show how living things relate to each other, through words, gesture, or even by some mystical tie, your imaginary world will seem real. The Baron, the Unicorn, and the Boy By Ogechi Cynthia Njoku Illustrated by Andrew Ujifusa Albert gazed listlessly at everything before him. Statues and tombs stood around him, both of great and delicate antiquity. People shuffled noiselessly past him, admiring the artifacts set before them. As you can imagine, Albert was at the museum. This was one of the numerous outings he’d been obliged to take part in during the school year. Thus, he was spending hours in the detested place. “Can we leave now?” he asked. His voice hung in the heavy silence, and, receiving no answer, he looked up to find himself alone. Panicking, he ran to the exit,thinking that his class had perhaps gone or moved on to another interesting display, but, instead of facing the usual glass panels, he found himself facing an old door. It was so gray with dust and veiled with cobwebs that Albert could hardly see it. Curiosity, with a thread of fear accompanying it, forced him to open it. He stepped over the threshold. The room was covered with layers of dust with an open grime-covered window showing glimpses of a barren and desolate land. The room was empty except for a large figure at one corner. Albert shivered and took a few steps backward. Just then something stirred and some dust brushed off the figure’s face. Its eyes blinked open and stared at Albert. He turned with his heart in his throat, his sole intention to run out of the place, when the voice arrested him. “At last you are here. I have waited for a long time.” Albert turned slowly and stared at the man, for man he was! While he was busy brushing himself off, Albert diligently studied him. He was young with stalwart features. His face was kind but with a hint of sadness and suffering hovering around it. His clothes suggested long ago prosperity but were now in rags. His limpid eyes lifted to meet Albert’s and he smiled. “I am Raymond Fitzgerald,” he said. “I am a king but have not seen much of that aristocratic world. At an early age, I lost my father and mother in tragic circumstances, indeed, there was a lot of mystery surrounding their death. I was made king, and, as young as I was, I was made to do a number of duties. In one of them, I was visiting a nearby kingdom. I took with me enough sustenance to last a month, my unicorn, and the baron. I once trusted. My unicorn was envied in many kingdoms for its strength and spirit. My baron, as I found out later, also liked it, and, halfway through the journey, he attacked me. Taken by surprise and totally unarmed as I was, he easily defeated me. He took my unicorn and kept me captive here. Even then…,” he shrugged. “Without that unicorn I am nowhere. Luckily, the baron informed me of the unicorn’s whereabouts, thinking that I’d never be able to reach it. The unicorn is in a cage situated about three miles from here. Give him this flower.” He withdrew a crushed flower from the tattered folds of his cloak. “It will enable him to free himself from the cage. Beware of the baron for he is very sly. You may use no arms as only the ruby can kill the baron. Do you agree?” Silence followed in which Albert trembled. His instinct told him that to agree was to sign his death sentence. But maybe he was thinking of the long-ago sense
History of the Stone Soup Folktale from 1720 to Now, by William Rubel
“Stone Soup,” engraving by Walter Melion for the cover of the first issue of Stone Soup Some Recipes for Stone Soup from 1732, 1808–and 2019! Boil stones in butter, and you may sip the broth. (Fuller 1732) ‘Give me a piece of paper’ (said the traveler) ‘and I’ll write it down for you,’ which he did as follows:—A receipt to-make Stone Soup. ‘ Take a large stone, put it into a sufficient quantity of boiling water; properly season it with pepper and salt; add three or four pounds of good beef, a handful of pot-herbs, some onions, a cabbage, and three or four carrots. When the soup is made the stone may be thrown away.’ Published in The American magazine of wit, 1808. The recipe published in 1808 is quite similar to the one in the version of the story made by the By Kids For Kids Story Time podcast in 2019. You can listen to their lively retelling of the tale on Megaphone here or at iTunes here! Origin of the Stone Soup Folktale Title page to the 1808 British magazine with the first English version of the Stone Soup story The Stone Soup story revolves around a clever man with a charismatic personality who can get people to help him when their first instinct is not to. This is the aspect of the story that folklorists have focused on. Folklorists place the Stone Soup story within the “clever man” category of the Aarne-Thompson-Uther folklore classification system that they use to organize the entire folkloric tradition. Stone Soup is an Aarne-Thompson-Uther type 1548 folktale. Where does the original Stone Soup story come from? Is it a genuine folk tale in the sense that it had a long life in an oral tradition before being published in print? Or is it a creation of authors writing for hire? Or a bit of both? I think it is probably a bit of both. The Stone Soup story does not appear in any of the major eighteenth- or nineteenth-century collections of folk tales. It wasn’t published by Charles Perrault or the Grimm brothers. The first version I have found, that of Madame de Noyer (1720), is the work of an internationally renowned writer. We will never know who “told her” the story, or whether she read it in a book that has not been identified, or whether she made the whole thing up! All of the early versions I have come across are already polished tales. None make the claim that they were collected from a peasant. If a strong oral tradition for the Stone Soup story existed in the 18th and 19th centuries it is probable that also referenced the fairly substantial body of published stories. The First Published Version: Madame de Noyer, France 1720 The first telling of the Stone Soup story that I have been able to locate is by a French woman, Madame de Noyer (1663–1719), a female journalist, a woman of letters and a dynamic personality who lived what can only be described as an interesting life. She seems to have been a woman who burned the candle at both ends. She lived in exile from France for the last part of her life, dying in Holland. Voltaire visited her in exile. Madame de Noyer’s version of the Stone Soup story, “Soupe au Caillou” (Madame du Noyer (1720), was published one year after she died, in a revised and expanded edition of collected letters that had been published a few years earlier. Madame de Noyer’s fame was so great that in French her version of the story is the most common version through the end of the nineteenth-century. You will find it in books that attribute it to other authors, but they rarely make the changes to her telling that are required to really claim authorship. Madame de Noyer begins her tale, as so many good storytellers do, with an element of mystery: “On me contoit l’autre jour que …” “Someone told me the other day that . . .” Her version of the story is set in Normandy, in northern France. Two Jesuits come to a farmhouse, but only the children are home. The Jesuits, who are hungry, convince the children that they are not begging for food, but in fact they are self-sufficient as they have a stone that makes soup. They tell the children that all they actually need is fire, a pot, and some water, and that their stone will do the rest. They remark that this is “curieux” and from that point the game is on. A fire is got ready, a pot put over, water is added, their stone is dropped in, and then, when the water is hot, this and that is asked for until, finally, a truly fabulous soup has been made. It is a story that always has a happy ending. Everyone always seems to have a good time making the soup, and the soup itself is always loved. In many versions the tramp (and it usually is a tramp) is asked for the recipe. In many other versions, like that of Madame de Noyer, all the neighbors and even all the other villagers are brought into the story. They attest to what a fabulous soup was made by a stone. Of course, nobody thinks that a stone can make soup. Nobody is tricked into feeding the stranger. The beggar is personable and is understood to be saying, “I’ll provide you some great entertainment in exchange for a meal.” As the banter surrounding the cooking was entertaining and by any standards the soup terrific, the making of stone soup always ends with smiles all around. Phillipe Barbe’s Version, France, 1771 Historic Stone Soup Story from 1771 in French by M. Barbe One characteristic of folktales is that they are contextualized by each teller. This is something the authors of the early Stone Soup stories clearly did. For example, the second version of the story was written by Phillipe Barbe (1723–1792) in his work Fables et
