The text of each tale itself is in larger black print while Tatar's headnote introducing each tale is in black italics. Small black print at the bottom left-hand side of each tale's first page announces that the source for this version of the tale is from Charles Perrault, "Cendrillon ou la petite pantoufle de verre," in Histoires ou contes du temps passé, avec des moralités (Paris: Barbin, 1697) or from Joseph Jacobs, "Kate Crackernuts," English Fairy Tales (London: David Nutt, 1898), for example. Each tale's number its title in capital letters, such as tale 1, LITTLE RED RIDING HOOD, or tale 18, KATE CRACKERNUTS its specific author in italics, such as Charles Perrault or Hans Christian Andersen and its footnotes on the page margins are all printed in light but readable purple ink that matches the geometric border of white vines on purple ground which heads each new tale. It is in Tatar's annotations for each tale, however, that the "familiar" is cracked open and explored intricately but clearly for an implied general audience of parents, children, students, and others interested in the subject matter through innovative use of different type faces, font sizes and colors.
"The Tales" section of the book includes familiar texts ranging from those of Charles Perrault, Jeanne-Marie Leprince de Beaumont, Jacob and Wilhelm Grimm, Alexander Afanasev, Peter Christen Asbjørnsen and Jørgen Moe, Joseph Jacobs, Philipp Otto Runge to those of Hans Christian Andersen (17-330). Editor Maria Tatar has chosen to present 26 classic fairy tales with over 300 accompanying classic illustrations to highlight the golden age of the fairy tale in the Western tradition. Its dust jacket, featuring magenta lettering and geometric design on a golden background with miniature illustrations from fairy tales on each corner, heralds the "storytelling archive" within its covers through allusions to Arabian Nights arabesque and to manuscript illumination. The Annotated Classic Fairy Tales is such a gorgeous book that it is hard to be critical.
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