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The Girl Who Spun Gold
Quashiba, a peasant girl, is about to be made queen because the king believes that she can spin and weave golden things. A tiny creature comes to save her under the condition that she has three chances to guess his name right.
West Indian
West Indian
40 pages, Hardcover
First published September 1, 2000
About the author
Virginia Hamilton
145 books276 followersVirginia Esther Hamilton was the author of forty-one works of fiction and nonfiction. She was the first Black writer awarded the Newbery Medal and the first children's writer to be named a MacArthur Fellow (the "Genius" grant). She also received the National Book Award and the Hans Christian Andersen Medal.
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February 28, 2023
Please note that this review of Virginia Hamilton's exquisite The Girl Who Spun Gold is going to be a bit different in set-up and scope, in so far that I am mostly posting general musings about both The Girl Who Spun Gold and also concerning Rumpestilzchen types of folk and fairy tales in global lore and tradition.
RUMPELSTILZCHEN TALES
In my opinion, the majority of the Rumpelstilzchen type folk and fairy tales are basically and usually examples of resourceful women (or girls) outsmarting demonic presences, triumphing over an entity who might originally seem helpful, but who is, in fact, only thus because he/she/it wants to obtain the girls' souls, or their unborn children, or actually and indeed both (they want everything, body and soul). And therefore, I for one have always majorly rejoiced that the evil little entities of Rumpelstilzchen themed tales (who are also usually portrayed as so cocksure and annoyingly arrogant) are generally and lastingly outsmarted by the female protagonists, and have also not as a rule ever felt that the girls owe their so-called "helpers" much if any gratitude at all (as right from the beginning, it is usually already abundantly clear that the imps are after the girls' possessions, and indeed all of their possessions). And also and furthermore, in the majority of the Rumplestilzchen stories, the female protagonists are generally put into problematic and dangerous situations and danger NOT due to their OWN actions, their own personalities and behaviours but due to the words and actions of those around them (their fathers, mothers, stepmothers, even the greedy kings who strive to obtain more and more riches, more and more gold, and would kill if thwarted in their endeavours, and thus, in many ways, they are indeed even generally rather on par with the imps and demons who pretend to help and sustain the unfortunate girls, but really only see them as an exploitable resource).
Now in the Rumpelstilzchen story by the Brothers Grimm, it is the father of the girl (the miller) who originally brags to the king that his daughter can spin straw into gold and thus endangers his daughter's life (for if she cannot complete this task, she will be killed by the king). And later, the king gets more and more greedy (demanding more and more straw be spun into gold), thus forcing the poor girl to finally in desperation promise the imp her first born child (and therefore, it is the father's vanity and the king's greed that have created the main protagonist's, the unfortunate girl's dilemma in the first place). Thus and in my opinion, really no blame should fall on the girl herself in any manner, as she simply does what she needs to survive, to protect her unborn child and herself. In other, similar such tales I have read over the years (from Austria, Switzerland, Italy etc.), instead of a bragging and boasting father, an evil stepmother or a jealous mother make outrageous claims that her daughter or stepdaughter can spin gold etc. to get rid of her, to put her in a position where her inability to be able to do what the mother or stepmother has claimed will likely cause the daughter's or stepdaughter's destruction and demise. And In ALL of these Rumpelstilzchen themed tales though, there are also always (or at leasy usually) other less obviously guilty antagonists, namely the greedy kings, merchants, barons etc., whose increasing demand for gold and riches at all costs precipitate the action and leave the female protagonists in dire straits and vulnerable to the machinations of the "helpful" imps and demons.
And indeed, when in Virginia Hamilton's The Girl Who Spun Gold, the culpability of the king with regard to Quashiba's plight is so clearly demonstrated and textually presented (that he is also very much and equally to blame for what has transpired here), that is not only truly refreshing (as this is generally only hinted at in folklore, if at all) it is also a great moral lesson (namely that you will have to face the consequences of your actions, and simply begging forgiveness is not only not enough, but that any forgiveness will likely also take time). Now some might claim that in The Girl Who Spun Gold Quashiba should have simply forgiven the king immediately, but honestly, if she had forgiven the king too quickly, he would likely never have learned his lesson, he would perhaps even have come to the conclusion that his cruel and outrageous demands for gold threads, for riches, were, even if not entirely acceptable, something that could easily be taken care of and mitigated with but a few simple words. And who knows, if the king had been forgiven too soon, he might also have reverted back to his cruelty, his vanity, his destructive gold lust. Not only is the demon soundly and roundly outsmarted in The Girl Who Spun Gold (and just like in the vast majority of the Rumpelstilzchen tales), but there are also important and necessary consequences for the greedy husband/king that are unfortunately all too often missing with regard to these types of folktales (and it is definitely and to and for me wonderful that the king in The Girl Who Spun Gold actually is able to and forced to learn a lesson, to learn from his mistakes and totally change his thinking and behaviour for the positive).
And finally, with regard to the potential the creepiness (and horror) factor of the gnomes, trolls, demons in Rumpelstilzchen kinds of tales, I had the Brothers Grimm version read to me repeatedly as a child, and I was never majorly creeped out or frightened by the "little devil" (although an animated film short where Rumpelstilzchen appeared as a red and staring devil did kind of aesthetically make me cringe a few years ago). And really, truly, I actually have always (in the Brothers Grimm Rumpelstilzchen story) found the miller and the king much creepier, much more cruel and unnatural (and I kind of find this with regard to The Girl Who Spun Gold as well, namely that the king in the throes of his gold lust and until he has actually learned his lesson, and is forgiven by Quashiba, feels and acts at least to and for me, somewhat if not even considerably more creepy and nastily cruel than the devilish entity demanding ridiculous and terrible payments).
SPINNING AND WOMEN'S WORK IN FOLK AND FAIRY TALES
Now when I was reading The Girl Who Spun Gold, I also started to ponder the depiction of the act and the craft of spinning thread in folk and fairy tales. And indeed, in many of these types of stories, the act of spinning is not depicted as something altogether positive, and it often seems to go hand in hand with potential danger for the spinners (these almost always being women). More often than not, spinning is used and portrayed as a method of subjugation, even abuse, and is generally described as hard work, or at least as tedious and repetitive. And personally, I tend to believe that the often negative depiction of spinning in fairy and folk tales most likely has to do much with the very nature of that very type of work itself. Spinning was (and maybe even still is) generally considered to be not only a woman's domain, but also a type of handicraft that would keep a woman not only tied to the house, but also often tied or confined to one particular room. I think it is therefore no coincidence that in so many of the Rumpelstilzchen type folk and fairy tales, and other folklore involving spinning, the women are not only told to spin a certain amount of thread into gold etc. in a certain time, but that they are often kept in a locked or guarded room in a castle or house until they have spun their threads (more often than not on the pain of death, should they not be able to complete their tasks).
However, there has also always been something magical (powerful and matriarchal) with regard to the very ability to spin (and the act of spinning) as well. That magical quality is probably not only due to the fact that the Greek Fates (or the Germanic Norns) were seen to "spin" destinies (of both mortals and gods), but it likely also demonstrates the importance of the very act of spinning. When humans (women mostly) learned how to spin thread, mankind moved from wearing animal skins to being able to fashion clothing, combine different types of wool, make bedding (the ability to spin thread was thus a supremely and important advance, as it increased protection against an often unforgiving environment, it was, in effect, a powerful tool, even a talisman). But the power and potential magic and importance of spinning notwithstanding, and while the Fates and the Germanic Nornes were indeed mighty and regarded with awe and honour, they were also (and as female entities) often regarded and approached with fear and suspicion. And thus, in many if not the majority of fairy tales, spinning, while it can seem magical, even powerful (spinning straw into gold for example), has actually rather morphed into something generally negative and threatening, as well as a method to subjugate women and keep them tied to the house, to their work, to often even one particular (generally small and confining) room (and remember how in The Sleeping Beauty, the prick of a spinning needle causes Aurora and with her the entire kingdom to fall into an enchanted sleep, and that spindle of destiny, so to speak, is located in a small and unfotunately forgotten sewing room, forgotten until Aurora discovers it, that is).
A MORE INDEPTH LOOK AT THE STORY ITSELF
I cannot believe what I am saying, but as much as I have always enjoyed the Brothers Grimm version of this type of tale (their Rumpelstilzchen), I do actually find Virginia Hamilton's The Girl Who Spun Gold somewhat (no really quite) superior, and mostly because of the fact that the king also receives blame and punishment for his greediness and gold lust, and that Quashiba's mother actually apologises to her daughter for lying about her spinning talents. For in NONE of the other Rumpelstilzchen types of tales I have read to date are there ever any apologies by the father, mother, stepmother who originally tell the lie (or brag about the nonexistent spinning talents of the daughter or stepdaughter), or conversely by the greedy merchants, kings, queens and the like who push and continue to push the female protagonists to produce more and more golden thread, thus forcing the latter to accept supernatural aid (and in the Grimms' Rumpelstilzchen, while the fact that the king keeps on demading more gold is at least acknowledged in passing, there is nonetheless no actual censure or blame ever cast at him).
Now there have times been questions raised with regard to The Girl Who Spun Gold whether Quashiba wastes her guesses when asked to come up with the name of her supernatural helper. And no, I really do NOT believe that Quashiba in any ways squanders her guesses (of the name), simply because multiple guesses (and the third being the charm) are part and parcel of most Rumpelstilzchen type tales. And on a more mundane (and yes indeed very much clever) level, by (and in my opinion always very much deliberately) guessing wrong two times, the heroines in the these stories also give their tormentors a false sense of security, and thus the surprise and anger of Rumpelstilzchen, Lit'mahn, Tom Tit Tot or whatever these devilish imps happen to be called are both genuine and extreme, so extreme usually, that they disappear in a puff of stinking demonic smoke, never to be heard from or seen again. And finally (I promise), while I do not always enjoy illustrated fairly and folk tales all that much (as I like my fairly tales textual, and with potentially creepy folktales, I definitely do tend to prefer them unillustrated), I absolutely love love love the Dillons' accompanying illustrations in The Girl Who Spun Gold, especially the golden colours and gorgeous attire worn by the queen; for yes, I do prefer long, flowing robes (no French lace for me). And actually, I do not even find Lit'mahn all that creepily depicted (and I have definitely seen many illustrations of Rumpelstilzchen-type entities that have creeped me out much much more lastingly, and that this is not the case here, that this does not ever happen with the Dillons' illustrations in The Girl Who Spun Gold does contribute greatly to my both reading and aesthetic pleasure).
RUMPELSTILZCHEN TALES
In my opinion, the majority of the Rumpelstilzchen type folk and fairy tales are basically and usually examples of resourceful women (or girls) outsmarting demonic presences, triumphing over an entity who might originally seem helpful, but who is, in fact, only thus because he/she/it wants to obtain the girls' souls, or their unborn children, or actually and indeed both (they want everything, body and soul). And therefore, I for one have always majorly rejoiced that the evil little entities of Rumpelstilzchen themed tales (who are also usually portrayed as so cocksure and annoyingly arrogant) are generally and lastingly outsmarted by the female protagonists, and have also not as a rule ever felt that the girls owe their so-called "helpers" much if any gratitude at all (as right from the beginning, it is usually already abundantly clear that the imps are after the girls' possessions, and indeed all of their possessions). And also and furthermore, in the majority of the Rumplestilzchen stories, the female protagonists are generally put into problematic and dangerous situations and danger NOT due to their OWN actions, their own personalities and behaviours but due to the words and actions of those around them (their fathers, mothers, stepmothers, even the greedy kings who strive to obtain more and more riches, more and more gold, and would kill if thwarted in their endeavours, and thus, in many ways, they are indeed even generally rather on par with the imps and demons who pretend to help and sustain the unfortunate girls, but really only see them as an exploitable resource).
Now in the Rumpelstilzchen story by the Brothers Grimm, it is the father of the girl (the miller) who originally brags to the king that his daughter can spin straw into gold and thus endangers his daughter's life (for if she cannot complete this task, she will be killed by the king). And later, the king gets more and more greedy (demanding more and more straw be spun into gold), thus forcing the poor girl to finally in desperation promise the imp her first born child (and therefore, it is the father's vanity and the king's greed that have created the main protagonist's, the unfortunate girl's dilemma in the first place). Thus and in my opinion, really no blame should fall on the girl herself in any manner, as she simply does what she needs to survive, to protect her unborn child and herself. In other, similar such tales I have read over the years (from Austria, Switzerland, Italy etc.), instead of a bragging and boasting father, an evil stepmother or a jealous mother make outrageous claims that her daughter or stepdaughter can spin gold etc. to get rid of her, to put her in a position where her inability to be able to do what the mother or stepmother has claimed will likely cause the daughter's or stepdaughter's destruction and demise. And In ALL of these Rumpelstilzchen themed tales though, there are also always (or at leasy usually) other less obviously guilty antagonists, namely the greedy kings, merchants, barons etc., whose increasing demand for gold and riches at all costs precipitate the action and leave the female protagonists in dire straits and vulnerable to the machinations of the "helpful" imps and demons.
And indeed, when in Virginia Hamilton's The Girl Who Spun Gold, the culpability of the king with regard to Quashiba's plight is so clearly demonstrated and textually presented (that he is also very much and equally to blame for what has transpired here), that is not only truly refreshing (as this is generally only hinted at in folklore, if at all) it is also a great moral lesson (namely that you will have to face the consequences of your actions, and simply begging forgiveness is not only not enough, but that any forgiveness will likely also take time). Now some might claim that in The Girl Who Spun Gold Quashiba should have simply forgiven the king immediately, but honestly, if she had forgiven the king too quickly, he would likely never have learned his lesson, he would perhaps even have come to the conclusion that his cruel and outrageous demands for gold threads, for riches, were, even if not entirely acceptable, something that could easily be taken care of and mitigated with but a few simple words. And who knows, if the king had been forgiven too soon, he might also have reverted back to his cruelty, his vanity, his destructive gold lust. Not only is the demon soundly and roundly outsmarted in The Girl Who Spun Gold (and just like in the vast majority of the Rumpelstilzchen tales), but there are also important and necessary consequences for the greedy husband/king that are unfortunately all too often missing with regard to these types of folktales (and it is definitely and to and for me wonderful that the king in The Girl Who Spun Gold actually is able to and forced to learn a lesson, to learn from his mistakes and totally change his thinking and behaviour for the positive).
And finally, with regard to the potential the creepiness (and horror) factor of the gnomes, trolls, demons in Rumpelstilzchen kinds of tales, I had the Brothers Grimm version read to me repeatedly as a child, and I was never majorly creeped out or frightened by the "little devil" (although an animated film short where Rumpelstilzchen appeared as a red and staring devil did kind of aesthetically make me cringe a few years ago). And really, truly, I actually have always (in the Brothers Grimm Rumpelstilzchen story) found the miller and the king much creepier, much more cruel and unnatural (and I kind of find this with regard to The Girl Who Spun Gold as well, namely that the king in the throes of his gold lust and until he has actually learned his lesson, and is forgiven by Quashiba, feels and acts at least to and for me, somewhat if not even considerably more creepy and nastily cruel than the devilish entity demanding ridiculous and terrible payments).
SPINNING AND WOMEN'S WORK IN FOLK AND FAIRY TALES
Now when I was reading The Girl Who Spun Gold, I also started to ponder the depiction of the act and the craft of spinning thread in folk and fairy tales. And indeed, in many of these types of stories, the act of spinning is not depicted as something altogether positive, and it often seems to go hand in hand with potential danger for the spinners (these almost always being women). More often than not, spinning is used and portrayed as a method of subjugation, even abuse, and is generally described as hard work, or at least as tedious and repetitive. And personally, I tend to believe that the often negative depiction of spinning in fairy and folk tales most likely has to do much with the very nature of that very type of work itself. Spinning was (and maybe even still is) generally considered to be not only a woman's domain, but also a type of handicraft that would keep a woman not only tied to the house, but also often tied or confined to one particular room. I think it is therefore no coincidence that in so many of the Rumpelstilzchen type folk and fairy tales, and other folklore involving spinning, the women are not only told to spin a certain amount of thread into gold etc. in a certain time, but that they are often kept in a locked or guarded room in a castle or house until they have spun their threads (more often than not on the pain of death, should they not be able to complete their tasks).
However, there has also always been something magical (powerful and matriarchal) with regard to the very ability to spin (and the act of spinning) as well. That magical quality is probably not only due to the fact that the Greek Fates (or the Germanic Norns) were seen to "spin" destinies (of both mortals and gods), but it likely also demonstrates the importance of the very act of spinning. When humans (women mostly) learned how to spin thread, mankind moved from wearing animal skins to being able to fashion clothing, combine different types of wool, make bedding (the ability to spin thread was thus a supremely and important advance, as it increased protection against an often unforgiving environment, it was, in effect, a powerful tool, even a talisman). But the power and potential magic and importance of spinning notwithstanding, and while the Fates and the Germanic Nornes were indeed mighty and regarded with awe and honour, they were also (and as female entities) often regarded and approached with fear and suspicion. And thus, in many if not the majority of fairy tales, spinning, while it can seem magical, even powerful (spinning straw into gold for example), has actually rather morphed into something generally negative and threatening, as well as a method to subjugate women and keep them tied to the house, to their work, to often even one particular (generally small and confining) room (and remember how in The Sleeping Beauty, the prick of a spinning needle causes Aurora and with her the entire kingdom to fall into an enchanted sleep, and that spindle of destiny, so to speak, is located in a small and unfotunately forgotten sewing room, forgotten until Aurora discovers it, that is).
A MORE INDEPTH LOOK AT THE STORY ITSELF
I cannot believe what I am saying, but as much as I have always enjoyed the Brothers Grimm version of this type of tale (their Rumpelstilzchen), I do actually find Virginia Hamilton's The Girl Who Spun Gold somewhat (no really quite) superior, and mostly because of the fact that the king also receives blame and punishment for his greediness and gold lust, and that Quashiba's mother actually apologises to her daughter for lying about her spinning talents. For in NONE of the other Rumpelstilzchen types of tales I have read to date are there ever any apologies by the father, mother, stepmother who originally tell the lie (or brag about the nonexistent spinning talents of the daughter or stepdaughter), or conversely by the greedy merchants, kings, queens and the like who push and continue to push the female protagonists to produce more and more golden thread, thus forcing the latter to accept supernatural aid (and in the Grimms' Rumpelstilzchen, while the fact that the king keeps on demading more gold is at least acknowledged in passing, there is nonetheless no actual censure or blame ever cast at him).
Now there have times been questions raised with regard to The Girl Who Spun Gold whether Quashiba wastes her guesses when asked to come up with the name of her supernatural helper. And no, I really do NOT believe that Quashiba in any ways squanders her guesses (of the name), simply because multiple guesses (and the third being the charm) are part and parcel of most Rumpelstilzchen type tales. And on a more mundane (and yes indeed very much clever) level, by (and in my opinion always very much deliberately) guessing wrong two times, the heroines in the these stories also give their tormentors a false sense of security, and thus the surprise and anger of Rumpelstilzchen, Lit'mahn, Tom Tit Tot or whatever these devilish imps happen to be called are both genuine and extreme, so extreme usually, that they disappear in a puff of stinking demonic smoke, never to be heard from or seen again. And finally (I promise), while I do not always enjoy illustrated fairly and folk tales all that much (as I like my fairly tales textual, and with potentially creepy folktales, I definitely do tend to prefer them unillustrated), I absolutely love love love the Dillons' accompanying illustrations in The Girl Who Spun Gold, especially the golden colours and gorgeous attire worn by the queen; for yes, I do prefer long, flowing robes (no French lace for me). And actually, I do not even find Lit'mahn all that creepily depicted (and I have definitely seen many illustrations of Rumpelstilzchen-type entities that have creeped me out much much more lastingly, and that this is not the case here, that this does not ever happen with the Dillons' illustrations in The Girl Who Spun Gold does contribute greatly to my both reading and aesthetic pleasure).
August 2, 2010
This is a truly beautiful book! The Dillons are remarkable artists and I am so happy they were able to use the gold "color" for the illustrations (the illustrator's note explains that this was a rather complicated process but since the whole story revolves around gold, they wanted the illustrations to aptly reflect this). If you enjoy the gold work in Demi's illustrations, I think you would like these, too. As for the story itself, it's a version of the folktale most know as Rumpelstiltskin. The tale has creeped me out ever since I was a little girl and this tale is certainly no different. The actions and illustrations of the "little man" are definitely on the scary side--his look almost reminds me of a Voodoo mask at times. And, wow, the husband-king in the story is such a loser. Ugh. But, I love how the story is told using some West Indian dialect which would make for a great read-aloud experience and the illustrations really steal the show!
August 6, 2010
I’ve never much liked the Rumpelstiltskin tale and I wasn’t wild about the premise of this story, which is obviously based on it. I got angry at the original lie and angry at the advantage taken of it.
But, this is a wonderful telling. From the first page this story begged to be read aloud. The cadence of the language was beautiful. I still don’t like the story that much but I did like this version better than the one I grew up with. I definitely liked how it addressed the wrongs on everybody’s part, and I did enjoy how it resolved/the ending.
The gold in the illustrations is a special touch, and adds immensely to the book, given the role gold has in the story.. The illustrations are otherwise also very colorful and expressive. It’s a beautiful book.
At the end of the book, in the notes section, I discovered that this is meant to take place in the West Indies. I probably should have been able to tell because of the dialect, but I was clueless and was trying to figure out why this was considered a North American folk tale: I read it for the Picture Books group at the Children's Books group, and this month’s theme is North American folk tales.
But, this is a wonderful telling. From the first page this story begged to be read aloud. The cadence of the language was beautiful. I still don’t like the story that much but I did like this version better than the one I grew up with. I definitely liked how it addressed the wrongs on everybody’s part, and I did enjoy how it resolved/the ending.
The gold in the illustrations is a special touch, and adds immensely to the book, given the role gold has in the story.. The illustrations are otherwise also very colorful and expressive. It’s a beautiful book.
At the end of the book, in the notes section, I discovered that this is meant to take place in the West Indies. I probably should have been able to tell because of the dialect, but I was clueless and was trying to figure out why this was considered a North American folk tale: I read it for the Picture Books group at the Children's Books group, and this month’s theme is North American folk tales.
August 31, 2010
The Girl Who Spun Gold was a real treat. I,thought the illustrations were beautiful with the exception of Lit'mahn. I first opened the book in a dimly lit room and staring back at me was that creepy little man with razor sharp teeth! I think the illustrators captured the look in Lit'mahn they were going for. I turned on a light to enjoy the illustrations better. Really it wasn't because Lit'mahn freaked me out.;) At the end of the book, I found it fascinating how much work went into making the art in this book and it really shows.
This telling of Rupelstiltskin was quite interesting. The dialect was fun. A great read aloud book. The descriptive words used were wonderful for the imagination.
This telling of Rupelstiltskin was quite interesting. The dialect was fun. A great read aloud book. The descriptive words used were wonderful for the imagination.
April 25, 2016
“The Girl Who Spun Gold” is an African retelling of the classic Brothers Grimm tale “Rumpelstiltskin” by Virginia Hamilton along with illustrations by Leo and Diane Dillon and it is about how a young and beautiful woman named Quashiba has to spin golden thread for the King while guessing the name of a mysterious and frightening little man. “The Girl Who Spun Gold” is truly one of the best retellings of the classic Brothers Grimm tale ever written!
Virginia Hamilton has done an excellent job at retelling this popular Brothers Grimm tale in a West Indian dialect, which greatly reflects the West Indian influence of this tale. Virginia Hamilton makes this story extremely intense as Quashiba goes through so much tension with both the King and Lit’mahn, who both threatened her with imprisonment if she does not do what they tell her to do. Even though Quashiba goes through so much turmoil, she is portrayed as a humble woman who tries her best to get through the horrible situations she is put through. Virginia Hamilton also does a great job at portraying Lit’mahn as a cocky and frightening character as he threatened to turn the queen into a small person and make her live with him and even the characters in this book are frightened of him as Virginia Hamilton effectively describes in detail about the mischief that Lit’mahn causes in a frightening manner. As usual, Leo and Diane Dillon’s illustrations are beautiful, but this time, their illustrations look much more realistic than in any other of their books. Leo and Diane Dillon have done an excellent job at drawing Lit’mahn as a truly frightening figure as he has sharp teeth, evil looking eyes, pointy eyes, a wooden leg and a long and pointed tail. Leo and Diane Dillon have also done a great job at capturing the style of West India as the characters are dressed in lavish robes and the background images of the forest clearly create the beautiful world that Quashiba lives in.
Parents should know that the king starts mistreating Quashiba after he marries her and even this incident happens in other variants of the classic Brothers Grimm tale, children might be upset at the idea of the king mistreating Quashiba after they are married and children might think that the king does not really love Quashiba at all, even though the reason why the king married Quashiba in the first place was because he thought she could spin thread into gold and that is the wrong reason to marry anyone just because they can make a person rich.
“The Girl Who Spun Gold” is easily one of the best retellings of “Rumpelstiltskin” ever created and children who love the story “Rumpelstiltskin” will easily enjoy this distinctive variation of the classic tale. I would recommend this book to children ages five and up since the West Indian dialect might confuse smaller children and the appearance of Lit’mahn might frighten smaller children.
Review is also on: Rabbit Ears Book Blog
September 29, 2019
When Big King comes riding by one day, Quashiba's mother tells a little fib - that her daughter can spin golden thread - in answer to his queries, and the beautiful young girl soon finds herself Queen! But when Big King demands that she make good on her mother's claim, one year into their marriage, Quashiba must accept the help of that malicious little magic-maker, Lit'mahn, who wants to shrink her down to his size, and force her to live in his shade. Can she guess his name in time, and free herself from her obligation to him...?
Fairy-tale lovers will immediately recognize this wonderful story, a West Indies variant of the tale-type often known as Rumpelstiltskin. It's natural (and enjoyable) to compare and contrast folkloric variants, and I was particularly struck, during the course of my reading, by the fact that The Girl Who Spun Gold highlights the injustice of the king's demands, in a way that the German variant does not. I also found myself wondering, in light of the fact that it is Quashiba herself that Lit'mahn wants, rather than any unborn child (as in other variants), whether the terrible trauma of slavery had a role in shaping the story. Could the knowledge that, for many generations, one's children could be taken away, have made that aspect of the tale too painful to include? Or was this variant always different, in this regard? The folklorist in me can't help but wonder...
With an engaging story, and breathtakingly beautiful artwork - gorgeous gold-toned illustrations perfectly capture both the beauty of Quashiba and the gruesome creepiness of Lit'mahn - this is a picture-book I would recommend to all fairy and folktale lovers, as well as fans of Leo and Diane Dillon's artwork!
Fairy-tale lovers will immediately recognize this wonderful story, a West Indies variant of the tale-type often known as Rumpelstiltskin. It's natural (and enjoyable) to compare and contrast folkloric variants, and I was particularly struck, during the course of my reading, by the fact that The Girl Who Spun Gold highlights the injustice of the king's demands, in a way that the German variant does not. I also found myself wondering, in light of the fact that it is Quashiba herself that Lit'mahn wants, rather than any unborn child (as in other variants), whether the terrible trauma of slavery had a role in shaping the story. Could the knowledge that, for many generations, one's children could be taken away, have made that aspect of the tale too painful to include? Or was this variant always different, in this regard? The folklorist in me can't help but wonder...
With an engaging story, and breathtakingly beautiful artwork - gorgeous gold-toned illustrations perfectly capture both the beauty of Quashiba and the gruesome creepiness of Lit'mahn - this is a picture-book I would recommend to all fairy and folktale lovers, as well as fans of Leo and Diane Dillon's artwork!
October 1, 2014
This is a West Indian version of the story of Rumplestiltskin. In this version the story begins with a very detailed description of the little man's odd appearance and his magic. When the girl's mother brags to the king about how the girl can spin beautiful gold thread and fabrics, the king quickly marries her. One year later, he demands that she spin three rooms full of fabric. The little man, named Lit'mahn, promises to help and gives her three chances on three days to guess his name or he will make her as small as he is and she will become his wife. It is purely by luck that the girl learns his name and is saved from this fate. Lit'mahn screams, his ears fall off and he explodes into flecks of gold when she guesses his name.
I really enjoyed this version of the story! The illustrations are full of color and patterns. In the appendix, Hamilton, the author, describes how she tried to translate this West Indian story while keeping true to the West Indian lilting speech patterns. The rich vocabulary and metaphors throughout the book would be appropriate to use in a classroom with older children that the usual picture book. I think it would be an interesting version to teach from, even if children were not familiar with the story. There is a surprisingly modern take on the girl's marriage to the king.
I really enjoyed this version of the story! The illustrations are full of color and patterns. In the appendix, Hamilton, the author, describes how she tried to translate this West Indian story while keeping true to the West Indian lilting speech patterns. The rich vocabulary and metaphors throughout the book would be appropriate to use in a classroom with older children that the usual picture book. I think it would be an interesting version to teach from, even if children were not familiar with the story. There is a surprisingly modern take on the girl's marriage to the king.
September 17, 2025
We were excited to read a Caribbean version of Rumpelstiltskin and we were not disappointed. The story is entertaining and I liked the fact that despite the king locking his queen in the rooms to spin gold, he also has a hand in saving her.
The illustrations are marvelous and we were fascinated by the description of creating the illustrations using gold leaf. Overall, we really enjoyed reading this story together.
This story was selected as one of the books for the August 2010 - North American Folktales reads at the Picture-Book Club in the Children's Books Group here at Goodreads.
The illustrations are marvelous and we were fascinated by the description of creating the illustrations using gold leaf. Overall, we really enjoyed reading this story together.
This story was selected as one of the books for the August 2010 - North American Folktales reads at the Picture-Book Club in the Children's Books Group here at Goodreads.
August 24, 2020
This is a West African variant of the little man story, the most famous variant being Rumplestiltskin. I don’t like this fairy tale, but the Queen had more agency in this version, which I appreciated. The illustrations were so detailed and lush, but Lit’mahn was too creepy for me to fully appreciate.
October 13, 2009
In this West Indies variation of Rumpelstiltskin, beautiful and young Quashiba is visited by the king one day while sitting and laughing with her mother. After her mother boasts that Quashiba can spin fine gold thread, the king insists on marrying her. Soon after the wedding, the king tells his bride that for now she is free, but in a year's time she will have to start spinning golden thread. Quashiba lives like a queen for a year, hoping the king will forget his demand. No such luck! At the year's end, he pushes her into a room and tells her that unless the room is filled with golden thread by the next day, she will have to stay there forever. She doesn't know what to do and starts crying, but then Lit'mahn, the tiny shadow fellow with a long tail, striped trousers, one wooden leg and a hideous face, floats down to ask her what is wrong. They make a deal that he will help her make the golden thread, but she must guess his whole name by the end of three days. If she doesn't, he will make her tiny like him and carry her off to live with him. The first day, she does not guess correctly,but the king is very happy with what she has done and takes her to a bigger room and locks her in it to do the same that night. Lit'mahn spins again and yet Quashiba still cannot guess the right name the second day. The king is again very happy and invites Quashiba to dinner that night. He tells her about how he was out hunting and came upon a tiny fellow who was singing a peculiar song about Lit'mahn Bittyun. The queen is so happy to find out the tiny man's name until the king pushes her back into the room to spin again. When Lit'mahn has finished spinning, he asks again for his true name. When Quashiba gives it to him, he becomes so enraged that explodes into a million little pieces. Queen Quashiba was so mad at her husband for locking her up that she doesn't speak to him for three years after that.
I really enjoyed this tale retold by Virginia Hamilton and exquisitely illustrated by Leo and Diane Dillon. While I liked the similarities it shared with Rumpelstilskin, I liked the differences even more! It was like reading a familiar story, but without knowing what the ending would be. The illustrations are what allows the reader to see how different the setting and the characters are in the story. This would be a great version to compare and contrast with the German Rumpelstiltskin. While younger students would love listening to this during a read aloud, the harder text makes it appropriate for grades 3-5.
I really enjoyed this tale retold by Virginia Hamilton and exquisitely illustrated by Leo and Diane Dillon. While I liked the similarities it shared with Rumpelstilskin, I liked the differences even more! It was like reading a familiar story, but without knowing what the ending would be. The illustrations are what allows the reader to see how different the setting and the characters are in the story. This would be a great version to compare and contrast with the German Rumpelstiltskin. While younger students would love listening to this during a read aloud, the harder text makes it appropriate for grades 3-5.
December 1, 2016
The Girl Who Spun Gold by Virginia Hamilton, Leo and Diane Dillon is about a mother who lies to a King about her daughter being able to spin gold. This King then marries her daughter, Quashiba, and makes her spin all things gold a year and a day after they’re married. To get out of this, Lit’ Mahn, a tiny fellow who hides in the shade, he offers Quashiba a deal to make her King happy; she must guess his name in three days, having three chances each day. But if she does not guess his name, he will turn her tiny, even tinier than him, and would take her to live with him.
The characters in this story are dynamic, especially Quashiba and Lit’ Mahn. this evident by how Quashiba tries her best to guess Lit’ Mahn’s name but she struggles because her emotions are changing frantically. Lit’ Mahn’s emotions are always showing as well when he see’s Quashiba struggling with guessing his name. The setting is mainly in the King’s castle, in three rooms, where Quashiba has to spin gold. We see the conflict of the story when Quashiba needs to make the King happy by spinning all things gold, as well as guessing Lit’ Mahn’s name. The theme of the story is Quashiba’s fear of being turned little by the Lit’ Mahn if she does not guess his name. The style of the story is shown with the detailed features of Lit’ Mahn, and Quashiba’s emotions throughout the story. The tone of the story was somber due to the difficulties faced by the main characters. When Quashiba was having a hard time guessing the name of Lit’ Mahn, he would laugh maniacally. As well as the King being is increasingly demanding of Quashiba spinning gold. The story is an third person count of a narrator telling the reader about Quashiba's struggles. The deep plot and dynamic characters make it an insteresting read for readers young and old.
The characters in this story are dynamic, especially Quashiba and Lit’ Mahn. this evident by how Quashiba tries her best to guess Lit’ Mahn’s name but she struggles because her emotions are changing frantically. Lit’ Mahn’s emotions are always showing as well when he see’s Quashiba struggling with guessing his name. The setting is mainly in the King’s castle, in three rooms, where Quashiba has to spin gold. We see the conflict of the story when Quashiba needs to make the King happy by spinning all things gold, as well as guessing Lit’ Mahn’s name. The theme of the story is Quashiba’s fear of being turned little by the Lit’ Mahn if she does not guess his name. The style of the story is shown with the detailed features of Lit’ Mahn, and Quashiba’s emotions throughout the story. The tone of the story was somber due to the difficulties faced by the main characters. When Quashiba was having a hard time guessing the name of Lit’ Mahn, he would laugh maniacally. As well as the King being is increasingly demanding of Quashiba spinning gold. The story is an third person count of a narrator telling the reader about Quashiba's struggles. The deep plot and dynamic characters make it an insteresting read for readers young and old.
April 14, 2015
TRADITIONAL LITERATURE
Hamilton, Virginia.The Girl Who Spun Gold. New York: Blue Sky Press, 2000.
Main Characters: Big King, Quashiba and Lit'mahn
MOTIF: Greed for Gold
Similar Story: Rumpelstiltskin
Setting: A West Indian Variant of the traditional story Rumpelstiltskin
TARGET AUDIENCE: 2nd to 5th grade
In the beginning Quashiba's mother gets the attention of Big King by claiming her daughter can weave gold thread. Instead of locking her up to prove it, Big King hurriedly marries Quashiba. Big King waits for one year from the wedding until he threatened to lock her up for one year unless she weaves some gold thread. Lit'mahn comes through the window to talk to the very upset Queen Quashiba. The deal with Lit'mahn is he will help Quashiba spin gold thread for three days, but if she cannot figure out his name in three days, she will be shrunken down to his size and carried away. For the first two nights they spin gold thread and she cannot figure out his name, but then Big King asks Quashiba down for dinner the third night and tells her a story about this little man named...Lit'mahn. When the queen tells Lit'mahn his real name he bursts into gold flecks. In the end the Queen is mad at the king for three years until finally she forgives him.
I really loved this version of the story in that the Queen had a little more power of her situation than the traditional Rumpelstiltskin. I also like how there were some consequences in the end for the king treating his queen so badly. The illustrations of this version are made with real gold paint and the artwork involved a four-step process with gold as the finishing layer. The story is quirky, the dialogue is written in the West Indian dialect. It is a beautiful book I would share with students
Hamilton, Virginia.The Girl Who Spun Gold. New York: Blue Sky Press, 2000.
Main Characters: Big King, Quashiba and Lit'mahn
MOTIF: Greed for Gold
Similar Story: Rumpelstiltskin
Setting: A West Indian Variant of the traditional story Rumpelstiltskin
TARGET AUDIENCE: 2nd to 5th grade
In the beginning Quashiba's mother gets the attention of Big King by claiming her daughter can weave gold thread. Instead of locking her up to prove it, Big King hurriedly marries Quashiba. Big King waits for one year from the wedding until he threatened to lock her up for one year unless she weaves some gold thread. Lit'mahn comes through the window to talk to the very upset Queen Quashiba. The deal with Lit'mahn is he will help Quashiba spin gold thread for three days, but if she cannot figure out his name in three days, she will be shrunken down to his size and carried away. For the first two nights they spin gold thread and she cannot figure out his name, but then Big King asks Quashiba down for dinner the third night and tells her a story about this little man named...Lit'mahn. When the queen tells Lit'mahn his real name he bursts into gold flecks. In the end the Queen is mad at the king for three years until finally she forgives him.
I really loved this version of the story in that the Queen had a little more power of her situation than the traditional Rumpelstiltskin. I also like how there were some consequences in the end for the king treating his queen so badly. The illustrations of this version are made with real gold paint and the artwork involved a four-step process with gold as the finishing layer. The story is quirky, the dialogue is written in the West Indian dialect. It is a beautiful book I would share with students
October 10, 2016
Out of all the versions that I encountered based on the tale "Rumplestiltken" I would say I enjoyed reading this West Indian version by far the best. Unlike in Rumplestiltken, instead of it being the father who lies to the King in order to feel importance, it's the mother. There are many differences such as the King marrying the girl, Quashiba, who can turn thread into gold before he locks her in the room which it occurs the opposite way in the tale Rumplestiltken. Also, instead of it being an old man it's a creepy little man with sharp teeth, a wooden leg, and a tale. Instead of asking for gifts in return for spinning gold for the king, the little man, Lit'mahn, threatens Quashiba to turn her into a little person like him if she doesn't know his name in the next three days. However there are many similarities as well such as the King being greedy and the parent lying to the king putting the female main character in harms way each and every time. It kinda of sucks that she deals with these problems that she never bought upon herself in the first place but being able to get out of each situation and no harm is caused is an awesome ending. I think I enjoy the most that the King accepted his wrong doing in this version and apologizes and she doesn't forgive him right away. Although he is powerful and has money, two things she didn't have on her own, she knew her worth and didn't just go back to it. It also teaches that forgive takes time but is well needed. I bet the king will no longer use her for what he can get out of her but just be the husband that he should be.
I learned that this book use real gold to create the beautiful artwork and it was a four process step. The illustrators hard work and great images does not go unnoticed.
I learned that this book use real gold to create the beautiful artwork and it was a four process step. The illustrators hard work and great images does not go unnoticed.
September 27, 2016
The Girl Who Spun Gold by Virginia Hamilton, Leo and Diane Dillon is about a mother who lies to a King about her daughter being able to spin gold. This King then marries her daughter, Quashiba, and makes her spin all things gold after a year and a day after they’re married. To get out of this, Lit’ Mahn, a tiny fellow who hides in the shade, offers Quashiba a deal to make her King happy; she must guess his name in three days, having three chances each day. But if she does not guess his name, he will turn her tiny, even tinier than him, and would take her to live with him.
The characters in this story are round, especially Quashiba and Lit’ Mahn. We see how Quashiba tries her best to guess Lit’ Mahn’s name, and her emotions are always changing. Lit’ Mahn’s emotions are always showing as well when he see’s Quashiba struggling with guessing his name. The setting is mainly in the King’s castle, in three rooms, where Quashiba has to spin gold. We see the plot of the story when Quashiba needs to make the King happy by spinning all things gold, as well as guessing Lit’ Mahn’s name. The theme of the story is Quashiba’s fear of being turned little by the Lit’ Mahn if she did not guess his name. The style of the story is shown with the detailed features of Lit’ Mahn, and Quashiba’s emotions throughout the story. The tone of the story was mostly evil. When Quashiba was having a hard time guessing the name of Lit’ Mahn, he would laugh evilly. As well as the King being very demanding of Quashiba spinning gold, which is bad. The story is told by a third person’s point of view.
The characters in this story are round, especially Quashiba and Lit’ Mahn. We see how Quashiba tries her best to guess Lit’ Mahn’s name, and her emotions are always changing. Lit’ Mahn’s emotions are always showing as well when he see’s Quashiba struggling with guessing his name. The setting is mainly in the King’s castle, in three rooms, where Quashiba has to spin gold. We see the plot of the story when Quashiba needs to make the King happy by spinning all things gold, as well as guessing Lit’ Mahn’s name. The theme of the story is Quashiba’s fear of being turned little by the Lit’ Mahn if she did not guess his name. The style of the story is shown with the detailed features of Lit’ Mahn, and Quashiba’s emotions throughout the story. The tone of the story was mostly evil. When Quashiba was having a hard time guessing the name of Lit’ Mahn, he would laugh evilly. As well as the King being very demanding of Quashiba spinning gold, which is bad. The story is told by a third person’s point of view.
April 13, 2015
I enjoyed this book from the West Indies of the Caribbean and really liked the unique pictures in the story. Lit'mahn is such a creepy looking character and it is interesting how the illustrator decided to depict him. I felt bad for Quashiba when the Big King padlocked her into a room and told her what to do. That is certainly not the way to treat a wife! You see the number '3' in the book and the magic of the Lit'mahn which is what makes this book diverse. The names of the characters as well help give you the clues that it is a book from the Caribbean. Also the fact that there was a king and that their wedding ceremony lasted 3 days shows that it is from a different culture. This book would serve as a good read aloud to a 3rd or 4th grade classroom. I learned after reading the book (from the back of the book) that this story is a variant of many different stories from different cultures. It would be fun to do a lesson and read a few of the variants aloud and also do a compare and contrast lesson with this book. The variants lesson would be different than the other, because it involves several different cultures across the world and they all pretty much have the same plot. These include Tom Tit Tot, Duffy and the Devil, Rumpelstiltskin, and another West Indian Variant entitled Mr. Titman.
November 30, 2014
The girl who spun gold is an African folktale retelling of the Brothers Grimm’s tale “Rumpelstiltskin” written by Virginia Hamilton illustrated by Leo and Diane Dillon. A beautiful peasant girl named Quashiba becomes Big King’s wife because he believes she can spin golden thread. After a year of marriage, she is locked in a room and expected to spin three rooms of golden objects otherwise she will be locked forever. A little creature offer to help her on the condition that she has to guess his whole name by the end of three days, or he make her tiny and stays with him forever.
The Dillons are amazing artists and their illustrations are marvellous. The illustrations are colorful and playful. The use of gold ‘color’ and superbly colored clothing add a special touch to the book and match so well with the ‘gold’ in the story. It is absolutely a beautiful book.
The Dillons are amazing artists and their illustrations are marvellous. The illustrations are colorful and playful. The use of gold ‘color’ and superbly colored clothing add a special touch to the book and match so well with the ‘gold’ in the story. It is absolutely a beautiful book.
August 27, 2010
When I opened this book and saw the first colorful illustration, I was awed. The illustrations are truly amazing in this book - highly detailed, with well-balanced and pleasing colors embellished with gold. I just loved looking at each page.
The story itself is told well; this is a version of the story known to me as Rumplestiltskin. The use of "dialect" to help one hear the voice of the story teller is something that tends to turn me off. And that was true here, as the author emulated a West Indies cadence in the telling. However, I was able to get past that and truly enjoy the book. The story has just enough detail to make it rich to read or hear.
The story itself is told well; this is a version of the story known to me as Rumplestiltskin. The use of "dialect" to help one hear the voice of the story teller is something that tends to turn me off. And that was true here, as the author emulated a West Indies cadence in the telling. However, I was able to get past that and truly enjoy the book. The story has just enough detail to make it rich to read or hear.
November 18, 2013
Title / Author / Publication Date: The Girl Who Spun Gold/Virginia Hamilton/2000
Genre: Fiction, Fairytale
Format: Hardcover
Plot summary: In this African American retelling of a West Indian version of "Rumpelstiltskin," Lit'mahn spins thread into gold cloth for the king's new bride.
Considerations or precautions for readers advisory: Husband locks up his wife and threatens her with lifelong imprisonment.
Review citation: Kirkus Reviews. (August 15, 2000). (Book Review).
Section source used to find the material: EBSCOhost: Children’s Core Collection (H.W. Wilson), Monroe County Public Library
Recommended age: 9 and up
Genre: Fiction, Fairytale
Format: Hardcover
Plot summary: In this African American retelling of a West Indian version of "Rumpelstiltskin," Lit'mahn spins thread into gold cloth for the king's new bride.
Considerations or precautions for readers advisory: Husband locks up his wife and threatens her with lifelong imprisonment.
Review citation: Kirkus Reviews. (August 15, 2000). (Book Review).
Section source used to find the material: EBSCOhost: Children’s Core Collection (H.W. Wilson), Monroe County Public Library
Recommended age: 9 and up
June 5, 2015
This book was the best Rumpelstiltskin story that I read. It was an african-american take on the story. I think this one was even creepier then the Grim's tale, because of how they described the Rumpelstiltskin character in the beginning with tales of him haunting the shadows. My favorite part about this book was the illustrations. They were very detailed and well-drawn. I loved the use of gold which made everything pop! This is probably one of my favorite childrens books now!
February 6, 2016
3.5 out of 5
September 22, 2020
I wish I had never found this. The writing was terrible and the illustrations weren’t good either. This is some of the worst speaking I’ve ever read. The way the characters talked ruined an already bad story. The author wrote that this is a West Indian variant told in a difficult, “so-called black dialect.” She translated it into a “far simpler colloquial style.” I can’t even imagine this speech being any harder, or worse. It was cringe-worthy reading this. “Lit’mahn” for Little man. Lit-mahn himself had razor sharp teeth, one wooden leg, a tail he spun around, and pointy ears. He looked like a demon or something.
I like the tale of Rumpelstiltskin the best and I did not care for this version at all. It’s hard to tell who the villain is because there are really two villains. First Lit-mahn who helps her only to trick her into becoming little like him. Then there is the husband who repeatedly locks her in a room to spin an entire room full of gold for him. He sucks! And all because her mom lied to him and said her daughter could spin gold...No.
She had to name his true name and she was guessing truly stupid names like Jemajama, Nebercouldgethim, and Teardowndoor. Her husband, the king, happened to be out and overheard the little man singing his own name while he danced around in a hole...I couldn’t get over that. First, the utter convenience of her own husband hearing the name of the very being she needed to guess, and second the fact that he was just hanging out in a hole in the ground. So his name is Lit-mahn Bittyun..
Quashiba was so mad she didn’t speak to her husband for 3 years. He hid all the padlocks and apologized. They lived “fairly happily ever after.” Fairly?!
In England there’s a tale of Tom Tit Tot, and Duffy the Devil because he is the devil. I didn’t know he was considered the devil! I couldn’t wait to be done and I wish I had never even found this in the first place because I didn’t like one thing about it.
I like the tale of Rumpelstiltskin the best and I did not care for this version at all. It’s hard to tell who the villain is because there are really two villains. First Lit-mahn who helps her only to trick her into becoming little like him. Then there is the husband who repeatedly locks her in a room to spin an entire room full of gold for him. He sucks! And all because her mom lied to him and said her daughter could spin gold...No.
She had to name his true name and she was guessing truly stupid names like Jemajama, Nebercouldgethim, and Teardowndoor. Her husband, the king, happened to be out and overheard the little man singing his own name while he danced around in a hole...I couldn’t get over that. First, the utter convenience of her own husband hearing the name of the very being she needed to guess, and second the fact that he was just hanging out in a hole in the ground. So his name is Lit-mahn Bittyun..
Quashiba was so mad she didn’t speak to her husband for 3 years. He hid all the padlocks and apologized. They lived “fairly happily ever after.” Fairly?!
In England there’s a tale of Tom Tit Tot, and Duffy the Devil because he is the devil. I didn’t know he was considered the devil! I couldn’t wait to be done and I wish I had never even found this in the first place because I didn’t like one thing about it.
This entire review has been hidden because of spoilers.
March 18, 2011
Hamilton, Virginia. (2000.) The Girl Who Spun Gold. L. and D. Dillon. New York: The Blue Sky Press.
Literary Genre: Traditional Literature (Picture Book)
Quashiba is a beautiful girl who finds herself in a seemingly impossible predicament because of her mother’s lie. Quashiba is married to the young Big King who demands her to weave him three rooms of golden things or stay looked in a room forever. A magical tiny shadow man with a wooden leg and long tail offers to help Quashiba but she only has three days to guess his whole name or she will be turned tiny. The art brings this golden tale to life with its metallic and acrylic paints and gold leaf borders.
I enjoyed this West Indian variant of German’s “Rumpelstiltskin” because it offers a special twist that portrays Quashiba as a strong woman. Many traditional tales portray women as only beautiful and not smart or strong, so finding books like this to counteract the stories with stereotypes is nice. The dialect might scare some readers but I find that it helps to develop the characters and provides cultural authenticity and lends itself to a fun read-aloud. Additionally, the Author’s Note in the end shares the origin of the tale and its connections across cultures, this is an artifact that is expected in a quality traditional tale picture book.
Literary Genre: Traditional Literature (Picture Book)
Quashiba is a beautiful girl who finds herself in a seemingly impossible predicament because of her mother’s lie. Quashiba is married to the young Big King who demands her to weave him three rooms of golden things or stay looked in a room forever. A magical tiny shadow man with a wooden leg and long tail offers to help Quashiba but she only has three days to guess his whole name or she will be turned tiny. The art brings this golden tale to life with its metallic and acrylic paints and gold leaf borders.
I enjoyed this West Indian variant of German’s “Rumpelstiltskin” because it offers a special twist that portrays Quashiba as a strong woman. Many traditional tales portray women as only beautiful and not smart or strong, so finding books like this to counteract the stories with stereotypes is nice. The dialect might scare some readers but I find that it helps to develop the characters and provides cultural authenticity and lends itself to a fun read-aloud. Additionally, the Author’s Note in the end shares the origin of the tale and its connections across cultures, this is an artifact that is expected in a quality traditional tale picture book.
May 16, 2018
A really wonderful African fairy tale, in the Rumpelstiltskin tale type category. I loved that Queen Quashiba didn't let the king off the hook, and the art was wonderful. My five month enjoyed it as well. There's plenty of opportunity for the reader to do voices with dialog, which she enjoys, and she liked the art.
September 8, 2010
This book was a great West Indies version of Rumpelstilskin. The illustrations are simply amazing! They are absolutely gorgeous, colorful with gold edging and accents on each page.
March 22, 2012
As usual, the Dillons illustrations are gorgeous, and they even used a lot of gold leaf in this African version of "Rumpelstiltskin."
March 21, 2015
A well done Rumpelstiltskin variant with very distinctive illustrations.
January 21, 2016
Lit'MAHN!
January 21, 2020
Great children's book! This is a West Indian version of the "little man" stories, the most famous little man story being the German Rumpelstiltskin. This version is told in a way that reflects West Indian speech patterns and the story itself is a lot of fun. The illustrations are gorgeous, with flowing images and gold details. Definitely one I would buy.
July 21, 2024
For the goblins & imps theme in Children's Books group. And of course for the author and illustrators - what a team!
An adaptation of a West Indian variant of the Tom Tit Tot/ Rumpelstiltskin story. Mostly effective. I loved the differences, including the more nuanced characterization of "young Big King," for example. Some of the pictures were a bit too busy for my taste.
Highly recommended for all who read fractured fairy tales, or are interested in global variants, or just want something special on the theme.
An adaptation of a West Indian variant of the Tom Tit Tot/ Rumpelstiltskin story. Mostly effective. I loved the differences, including the more nuanced characterization of "young Big King," for example. Some of the pictures were a bit too busy for my taste.
Highly recommended for all who read fractured fairy tales, or are interested in global variants, or just want something special on the theme.
May 8, 2015
Title: The Girl Who Spun Gold
Author: Virginia Hamilton (author), Leo & Diane Dillon (illus)
Series: No series, but this is pretty closely related to Her Stories which I read a couple months ago. It is another illustrated fairy tale - this version is based on a version from the West Indies.
Genre: Fairy tale, children's.
Setting: The time is clearly long ago. The place is never made explicit and I don't know enough about the style of dress pictured to guess based on that.
Reason for Reading:
Relevance to the Project: This is the first time in this project that I doubled up (or down, I suppose) on one author. I enjoyed Her Stories very much, and I read about this book on a tumblr that talks about diversity representation from the Middle Ages and I was very curious to see what this other cultural take on Rumplestiltskin might be. (The link specifically is to some people discussing whether fairy tale retellings are plagiarism, which is... mind-boggling to me.)
I was very curious to see what was different between this and other versions I know. I might do a little arc here into others of this type because it was very, very interesting. A few quick differences: the main character has a name (instead of just being "the miller's daughter" or whatever), it's her mother, not her father who brags about her to the king, the spirit wishes to take the girl, not her baby, and (perhaps most satisfyingly) at the end of the story she is angry with the king for having locked her up and waits several YEARS to forgive him.
Finished In: Minutes. It's a quick one. Also the art is beautiful.
Pages: 40
Copyright Date: 2000
Cover: A scene from Quashiba's wedding to the king.
First line: "There be this tale told about a tiny fellow who could hide in a foot of shade amid old trees."
Favorite quote: "And they lived fairly happily ever after." Yeah, that sounds like marriage to me, lol. :)
Themes and Triggers: Gossip, bargains, gold, kings.
Best part: The art.
Worst part: It felt a little short to me, probably because of the age level it's intended for. I wonder if there are novel-length fairy tale retellings by people of color? Surely there must be and I will Google them up!
Grade: B
Recommended for: If you, like me, worry about diverse representation in children's books you should give this a look.
Related Reads: Her Stories by the same authors (a whole collection, not just one story). A is for Activist by Innosanto Nagara.
Author: Virginia Hamilton (author), Leo & Diane Dillon (illus)
Series: No series, but this is pretty closely related to Her Stories which I read a couple months ago. It is another illustrated fairy tale - this version is based on a version from the West Indies.
Genre: Fairy tale, children's.
Setting: The time is clearly long ago. The place is never made explicit and I don't know enough about the style of dress pictured to guess based on that.
Reason for Reading:
Relevance to the Project: This is the first time in this project that I doubled up (or down, I suppose) on one author. I enjoyed Her Stories very much, and I read about this book on a tumblr that talks about diversity representation from the Middle Ages and I was very curious to see what this other cultural take on Rumplestiltskin might be. (The link specifically is to some people discussing whether fairy tale retellings are plagiarism, which is... mind-boggling to me.)
I was very curious to see what was different between this and other versions I know. I might do a little arc here into others of this type because it was very, very interesting. A few quick differences: the main character has a name (instead of just being "the miller's daughter" or whatever), it's her mother, not her father who brags about her to the king, the spirit wishes to take the girl, not her baby, and (perhaps most satisfyingly) at the end of the story she is angry with the king for having locked her up and waits several YEARS to forgive him.
Finished In: Minutes. It's a quick one. Also the art is beautiful.
Pages: 40
Copyright Date: 2000
Cover: A scene from Quashiba's wedding to the king.
First line: "There be this tale told about a tiny fellow who could hide in a foot of shade amid old trees."
Favorite quote: "And they lived fairly happily ever after." Yeah, that sounds like marriage to me, lol. :)
Themes and Triggers: Gossip, bargains, gold, kings.
Best part: The art.
Worst part: It felt a little short to me, probably because of the age level it's intended for. I wonder if there are novel-length fairy tale retellings by people of color? Surely there must be and I will Google them up!
Grade: B
Recommended for: If you, like me, worry about diverse representation in children's books you should give this a look.
Related Reads: Her Stories by the same authors (a whole collection, not just one story). A is for Activist by Innosanto Nagara.
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