We also have to consider the many different kinds of rape we have learned about over the past few years as conservative politicians blunder through trying to explain their stances on sexual violence and abortion. For instance, Indiana treasurer Richard Mourdock, running for the US Senate in 2012, said, in a debate, "I struggled with it myself for a long time, and I realized that life is a gift from God, and I think even when life begins int hat horrible situation of rape, that is something God intended to happen." I've been obsessing over these words, and trying to understand how someone who purports to believe in God can also believe that anything born of rape is God-intended. Just as there are many different kinds of rape, there are many different kinds of God. I am also reminded that women, more often than not, are the recipient of God's intentions and must also bear the burdens of these intentions. Mourdock is certainly not alone in offering up opinions about rape. Former Missouri representative Todd Akin believes in "legitimate rape" and the oxymoronic "forcible rape," not to be confused with all that illegitimate rape going on. Ron Paul believes in the existence of "honest rape," but turns a blind eye to the dishonest rapes out there. Former Wisconsin State representative Roger Rivard believes some girls, "they rape so easy." Lest you think these new definitions of rape are only the purview of men, failed Senate candidate Linda McMahon of Connecticut has introduced us to the idea of "emergency rape." Given this bizarre array of new rape definitions, it is hard to reconcile the belief that women are rising when there is still so much in our cultural climate working to hold women down. We can, I suppose, take comfort in knowing that none of these people is in a position of power anymore.
The very name of the genre itself - fairy tale - originated during this time, for the French writers coined the term conte de fee during the seventeenth century, and it has stuck to the genre in Europe and North America ever since. This "imprint" is important, because it reveals something crucial about the fairy tale that has remained part of its nature to the present. The early writers of fairy tales placed the power of metamorphosis in the hands of women - the redoubtable fairies. In addition, this miraculous power was not associated with a particular religion or mythology, through which the world was to be explained. It was a secular mysterious power of compassion that could not be explained, and it derived from the creative imagination of the writer. Anyone could call upon the fairies for help, and it is clear that the gifted French women writers of the seventeenth century preferred to address themselves to a fairy and to have a fairy resolve the conflicts in their tales rather than the Church, with its male-dominated hierarchy. After all, it was the Church that had eliminated hundreds of thousands of so-called female witches during the previous two centuries in an effort to curb heretical and nonconformist beliefs. However, those "pagan" notions survived in the tradition of the oral wonder tale and surfaced in published form in France when it became safer to introduce in a symbolical code supernatural powers and creatures other than those officially sanctioned by the Christian code. In short, there was something subversive about the institutionalization of the fairy tale in France during the 1690S, for it enabled writers to create a dialogue about norms, manners, and power that evaded court censorship and freed the fantasy of the writers and readers, while at the same time paying tribute to the French code of civilite and the majesty of the aristocracy. Once certain discursive paradigms and conventions were established, a writer could demonstrate his or her "genius" by rearranging, expanding, deepening, and playing with the known functions of a genre that, by 1715, had already formed a type of canon, which consisted not only of the great classical tales-"Cinderella," "Sleeping Beauty," "Rapunzel," "Rumpelstiltskin," "Puss in Boots," "Little Red Riding Hood," "Beauty and the Beast," "Blue beard, " "The Golden Dwarf," "The Blue Bird," and "The White Cat"-but also the mammoth collection The Arabian Nights.