One that he believes makes any marginalised story not only better but one that moves people. Wood believes the authenticity readers they worked with add a layer of richness.

Imagery from The Tales of the Rabbit God story in Tales From Beyond The Rainbow Puffin 'But we need to do it hand in hand with each other if we’re dealing with stories from a different culture or communities we don’t have lived experience of.' People can take these and pass them on through generations with their adaptations.

That means people shared them with other cultures as they travelled and migrated - that’s how folklore adapted, changed and grew. 'There are stories about Cinderella worldwide, with variants, and it’s loved everywhere. 'Folklore is an extraordinary thing in humanity,' Wood tells me. Both local writers in Benin and people from the transgender community. The change came after extensive work with authenticity readers. Instead, Dausi's ending sees her and those around her reach a level of happiness they've never experienced before in their own body. The modern retelling in Tales From Beyond The Rainbow does not rely on the character eating a cassava root for a spiritual and physical transformation. It was last collected in 1925, but has centuries-old roots in a 'shift of sex' tale type. Given current events and anti-trans rhetoric it's pointed that the fraud in the story was not the black trans woman, but those who sought to ‘expose’ her. It follows a black trans woman of colour who becomes queen despite coming from the poor part of town. Take 'The Girl In The Market', a story from Benin West Africa is about Dausi. The collection of ten stories has been adapted by Wood, but they come from all over the world. Tales From Beyond The Rainbow is the queer Aseop's Fables we all deserved as kids

Forever shiver book 3