...illustrations have mostly been treated as complementary and ancillary to the tales themselves, and Zipes's promise of a new integrative analytic approach is as welcome as it is long overdue. The consequence of such an ineffectively substantiated conflation results in consistently incorrect and incomplete citations: an image of Hansel and Gretel misidentified as "1907, American" is an image by August Splitgerber 1844–1918, the card issued by Münchener Kunst, nr. 2008/99 (47); cards based on W.W. Denslow's Wizard of Oz images misidentified as "1986, American" (180); and the image of "White Bear King Valemon" misidentified as "1999, American" (189), when it is in fact a reproduction of Theodor Kittelsen's 1912 watercolor, one of the most famous Norwegian fairy-tale images today. Reading them literally reinforces the ideological operations of identity construction (see also Zipes's interpretation of photographic images of African Americans as signifying how "storytelling was very important to African Americans, who brought their tales with them from Africa" 2 without ever acknowledging that these images were part of well-established racialized system of representing Blacks as crude and backwards). ...through erasure, diminishment, or by presenting women as conduits of tales, which therefore implicitly have lives of their own, Zipes effectively strips women of agency in the tales' production and dissemination. ...despite claims that these postcards and fairy tales are global phenomena, there is scant evidence for this claim.