The Kazakh people have always been dedicated to preserving and advancing their culture and literature and sharing them with the world. Over the thirty-plus years since independence, the Kazakh state has actively sought valuable historical records and archival materials about its people. It is remarkable to discover that during the Soviet era, numerous Western travelers explored Kazakhstan’s territory, documenting their observations on traditions, daily life, religion, and political perspectives in books that were later published in English.

In the fall of 2023, with funding from the Bolashak program, I started a project to research the history of the Kazakh people and steppe based on the English-language accounts of Western travelers who visited the steppe in the late 19th and early 20th centuries. Although I started this project when I was working as a newspaper reporter in Kazakhstan, there was no way to access the database of large libraries abroad.

Nineteen Kazakh Fairy Tales and Mary Lou Masey

Kazakh-American relations did not begin solely after the collapse of the Soviet Union but can be traced back to the late 19th century. This is evident from old books written in English and printed by major American publishers, which I discovered in archival collections. While exploring the catalogs at George Washington University’s Gelman Library, I came across an intriguing book titled Stories of the Steppes, retold by Mary Lou Masey and illustrated by Helen Basilevsky. Published in 1968 by the David McKay Company, Inc. in New York, this book reflects Masey’s fascination with Central Asian culture. Having traveled to the region with her husband, Jack, she introduced American readers to its rich heritage through this collection. The book features 19 folktales from Russian sources, not as literal translations but as engaging retellings that remain faithful to the original plotlines.

The cover of Stories of the Steppes, retold by Mary Lou Masey

In this work, Masey presents traditional Kazakh folktales, including fairy tales, satirical stories about daily life, humorous tales and stories about animal, as well as narratives about both wise and foolish individuals. In the preface, she notes that while some reflect Russian cultural influence and others share common elements with global folklore, the collection remains distinctly Kazakh. It captures a unique way of life and showcases the remarkable artistry of the wandering storytellers who passed these tales down through the generations.

Illustration of the fairy tale “The One-Eyed Giant” from the book by Mary Lou Masey, 1968

As I flipped through the pages of this book, I became curious about its author. A writer and researcher with a background in International Studies, Masey earned her B.A. from Ohio State University with a major in Russian. She authored four children’s books published by David McKay: Branislav the Dragon (1967), Stories of the Steppes (1968), The Picture Story of the Soviet Union (1971), and Teddy and the Moon (1972).

In adapting Kazakh folktales for Western readers, particularly children, Masey prioritized preserving the essence and richness of the originals rather than providing direct translations. She notes that some of these stories resemble familiar European folktales, which likely trace their origins back to the East. For instance, the story “Old Man and Kurai” shares similarities with the Grimm brothers’ “The Brave Little Tailor”, which exists in countless variations and is believed to have originated in Asia. Through her comparisons, Masey highlights the many connections between Kazakh folklore and global storytelling traditions, emphasizing the cultural links between Kazakhstan and the wider world.

The illustration of the fairy tale The Woodcutter`s Daughter from the book by Mary Lou Masey, 1968

Western explorers who traveled across the Kazakh steppes documented their observations with accuracy and fairness. Some even noted in their writings that Russian policies intentionally misrepresented the name of the Kazakh people, referring to them as “Kyrgyz.” They provided historical explanations to correct this distortion. In Stories of the Steppes, Masey offers a similar clarification for her readers, stating: “Throughout the nineteenth century, the Kazakhs were mistakenly called ‘Kirghiz,’ a name belonging to a distinct people who now have their own republic. This misnaming may have been partly an effort to differentiate them from the Cossacks, who had also adopted the term ‘Kazak,’ a Turkic word meaning ‘freedom’ or ‘wanderer.’”

The illustration of the fairy tale The Old man and Kurai from the book by Mary Lou Masey, 1968

I was also intrigued by how the author used illustrations to help readers visualize Kazakh folktales. For instance, in the story “One-Eyed Giant”, the accompanying illustration vividly depicts a strong and fearless giant declaring, “I can do anything.” The clothing worn by each character in the illustrations is distinctly Kazakh in style, reinforcing the cultural authenticity of the tales.

It is evident that the author aimed to showcase Kazakh culture, traditions, and folklore through her work. Similarly, in “Salakbay and the Fox”, the character of Salakbay closely resembles a typical Kazakh boy tending to livestock on the vast steppes. With a staff in his hand, a traditional Kazakh hat on his head, a black coat draped over his shoulders, and sturdy boots on his feet, the illustration provides English-speaking readers with a clear and accurate depiction of a young Kazakh nomad’s appearance and way of life.

While translating Kazakh fairy tales, Masey preserved certain Kazakh words, providing English explanations alongside them. For instance, she kept the word Aidagar and clarified its meaning as “dragon.” This approach reflects her respectful attitude toward the cultures of other nations. Regarding the fairy tale “Salakbay and the Fox””, Masey noted that it belongs to an ancient oral storytelling tradition found across Europe, Siberia, and even as far as India, likening it to the well-known tale “Puss in Boots”.

Mary Lou Masey journeyed to various countries within the former Soviet Union during the 1960s. It is likely that during her travels, she became deeply familiar with the rich culture of the Kazakh people. Among the many nations of the Soviet Union, she chose to focus on Kazakh folktales, compiling them into her book. While this was a meaningful literary endeavor for her, for us, it represents a significant contribution to the recognition and appreciation of Kazakh folklore.

“Aldar-Kose” and The Fairy Tale Tree

The book The Fairy Tale Tree, housed in the Gelman Library at the University of Washington, serves as evidence that Kazakh fairy tales reached American readers much earlier than commonly thought. The Kazakh tale “Aldar-Kose and His Magic Cloak” was included in an anthology of world folktales published by G.P. Putnam’s Sons in New York City in 1961. This collection was compiled by Vladislav Stanovsky and Jan Vladislav, with an English translation by Jean Layton. The translation of this fairy tale into English was highly successful, as the language feels natural, and the story remains engaging and accessible to American readers.

Published more than fifty years ago, these two books introduced several Kazakh fairy tales to English-speaking readers, complete with illustrations that authentically depict the Kazakh way of life, traditional clothing, and historical worldview. Cultural exchange plays a crucial role in fostering connections between nations, and from this perspective, Mary Lou Masey’s efforts in translating and publishing Kazakh folktales in the 1960s represent a valuable contribution to Kazakh-American cultural relations. Folktales are an essential part of Kazakh heritage, and the fact that they reached American readers half a century ago is a remarkable milestone for Kazakh culture.