Clive L. Gilson – författare

I''ve been collecting and telling stories for a couple of decades now, having had several of my own fictional works published in recent years. My particularly focus is on short story writing in the realms of magical realities and science fiction fantasies.

I''ve always drawn heavily on traditional folk and fairy tales, and in so doing have amassed a digital collection of many thousands of these tales from around the world. It has been one of my long-standing ambitions to gather these stories together and to create a library of tales that tell the stories of places and peoples around the world.

One of the main motivations for me in undertaking the project is to collect and tell stories that otherwise might be lost or, at best, be forgotten by predominantly English-speaking readers. Given that a lot of my sources are from early collectors, particularly covering works produced in the late eighteenth century, throughout the nineteenth century, and in the early years of the twentieth century, I do make every effort to adapt stories for a modern reader. Early collectors had a different world view to many of us today, and often expressed views about race and gender, for example, that we find difficult to reconcile in the early years of the twenty-first century. I try, although with varying degrees of success, to update these stories with sensitivity while trying to stay as true to the original spirit of each story as I can.

I also want to assure readers that I try hard not to comment on or appropriate originating cultures. It is almost certainly true that the early collectors of these tales, with their then prevalent world views, have made assumptions about the originating cultures that have given us these tales. I hope that you''ll accept my mission to preserve these tales, however and wherever I find them, as just that. I have, therefore, made sure that every story has a full attribution, covering both the original collector / writer and the collection title that this version has been adapted from, as well as having notes about publishers and other relevant and, I hope, interesting source data. Wherever possible I have added a cultural or indigenous attribution as well, although for some of the titles, the country-based theme is obvious.

This volume, Tales from the Meddahs, is the first in a set of collections covering indigenous tales from what we in Europe know now as The Middle East. Tales from the Meddahs covers a wide range of sources and tales that have emerged from the post-Byzantine traditions of the Turkish peoples.

These collections will grow over coming years to tell lost and forgotten tales from every continent, and even then, I''ll just be scratching the surface of the world''s lore and love. That''s the great gift in storytelling. Since the first of our ancestors sat around in a cave, contemplating an ape''s place in the world, we have, as a species, continued to tell each other stories of magic and cunning and caution and love. All those years ago, when I began to read through tales from the Celts, tales from Indonesia, tales from Africa and the Far East, tales from everywhere, one of the things that struck me clearly was just how similar are our roots. We share characters and characteristics. The nature of these tales is so similar underneath the local camouflage. Human beings clearly share a storytelling heritage so much deeper than the world that we see superficially as always having been just as it is now.

This volume, Tales from the Hakawati, is the second in a set of collections covering indigenous tales from the broader Arabic diaspora.

In putting this small collection of tales together I''ve found the process to be particularly rewarding. Arabic folklore and fairy tales reflect the deep cultural roots and diverse traditions of the Arab world.

I''ve also been impressed by the diversity of the narratives. Arabic storytelling encompasses a wide range of tales that vary across different regions and communities. Reading these tales exposes you to a wide range of themes, characters, and settings, so much of it stemming from the strong oral traditions of the wider community. Many Arabic folktales have been passed down through generations via this oral tradition. This continuity connects contemporary audiences with the storytelling practices of their ancestors, fostering a sense of cultural continuity and identity.

In particular I''ve found that by exploring Arabic storytelling, I have gained a better understanding of the perspectives, beliefs, and worldviews of the wider Arab peoples, which can only help to foster cultural empathy and help break down stereotypes. I believe wholeheartedly that engaging with the world''s storytelling promotes cultural exchange and mutual understanding. It allows us to connect with the cultural expressions of a community and fosters appreciation for the similarities and differences that make our global society so diverse and so engaging.

Arabic folklore and fairy tales also include a wealth of imagination and creativity. That creativity, combined with a deep connection to history means that these tales can often reflect the historical and social dynamics of the regions where they originated. Reading these stories can provide historical context and insights into the evolution of cultural practices.

We should also never forget that Arabic storytelling has significantly influenced world literature. Many stories have been adapted and reimagined in various cultures, showcasing the universal appeal of these tales and their enduring impact on global storytelling traditions. Arabic folklore and fairy tales have been and remain a rich source of inspiration for writers, artists, and creators. The fantastical elements, unique characters, and imaginative plots can serve as a springboard for your own creative endeavours.

One of my favourite aspects of this tradition is the use of magical realism in storytelling: Arabic folklore often blends the ordinary with the extraordinary, creating worlds where mythical creatures, powerful jinn, and enchanted objects coexist with everyday life, adding a sense of wonder and imagination to the tales.

Above all, Arabic storytelling is filled with captivating stories that entertain and engage readers. Whether it''s the adventures of legendary heroes or the magic of mythical creatures, these tales have an enduring appeal that transcends cultural boundaries. As with most storytelling traditions, these tales were originally told by firelight as a way of preserving histories and educating both adult and child. These tales form part of our shared heritage, witches, warts, fantastic beasts, and all. They can be dark and violent. They can be sweet and loving. They are we and we are they in so many ways. I''ve loved reading and re reading these stories. I hope you do too.

This volume, Tales Told By Balebos And Gusan, is the third in a set of collections covering indigenous tales from what we know now as The Middle East. Tales Told By Balebos And Gusan traces the arc of storytelling across countries that we are familiar with such as Palestine, Syria, Lebanon, Jordan and Israel. In particular, this volume also reaches into the ancient Armenian tradition of storytelling, which is an absolute delight.

This volume, Tales Told By The Kathaakaar, is the first in a set of collections covering indigenous tales from Central and Southern Asia. Tales Told By The Kathaakaar traces the arc of storytelling across countries that we are familiar with such as Pakistan,Bangladesh and India. In particular, this volume also reaches deeply into the ancient Indian tradition of storytelling, which is an absolute delight.