Hans Christian Andersen is one of Denmark’s most cherished writers – a master of the literary fairy tale whose influence stretches far beyond The Little Mermaid, The Emperor’s New Clothes and the other classics many of us first encounter in childhood.

Born in 1805 in Odense, on the island of Funen, Andersen was the son of a shoemaker and an illiterate washerwoman who would grow into an author who wrote across genres – novels, travelogues, poems and plays. But in his short tales he created a form uniquely his own: emotionally daring, stylistically inventive and rich with both whimsy and existential bite.

Although not all of his stories are about winter or Christmas, Andersen’s name has become closely associated with the festive season around the world.

His tales have been read aloud for generations, adapted into countless winter performances and films and returned to each year for their blend of wonder, melancholy and moral imagination. They remind us that the season is not only about sparkle and celebration, but also reflection, hope and the small fragile miracles of being human.

So, as the days grow shorter, we’ve asked four leading Andersen experts to choose one story they believe is perfect for reading – or rereading – this Christmas. Their selections may not be the Christmas tales you’ve come to associate with Andersen. But they showcase the author at his most profound and playful – and offer new ways into his writing.

Ane Grum-Schwensen, associate professor in the Department of Cultural and Linguistic Studies at The Hans Christian Andersen Centre, University of Southern Denmark

Choosing a single Andersen story as a favourite feels almost impossible. There are so many remarkable ones and my favourite often ends up being the one I have most recently revisited. Yet some stories return to me repeatedly, both in thought and in research.

One of these is The Story of a Mother, first published in 1847. It is a fantastic tale in every sense of the word. It includes classic fairy-tale elements: a protagonist – the mother – leaving home and facing trials, helpers guiding her and an ultimate antagonist, Death. Yet Andersen challenges this structure: the helpers demand steep prices and the antagonist could even be seen as a kind of helper. The story also reflects the fantastic, as seen in modern fiction, through its dreamlike quality and its unsettling open ending, where the mother finally allows Death to carry her child into the unknown.

This story is profoundly moving. It portrays both the desperate lengths a parent will go to to protect a child and the crushing surrender when confronted with an irreversible fate. Andersen’s ability to capture this parental anguish so vividly, despite never having been a parent himself, is striking.

The theme of the dying child was common in 19th-century art and literature, partly because of the harsh reality of child mortality. In the early decades of the century, roughly one-third of all Danish children died before their tenth birthday. Andersen addressed this theme repeatedly. Indeed, his first known poem, at age 11 was written to comfort a grieving mother. Later, in 1827, another poem he wrote, The Dying Child was published anonymously and widely translated.

The language and narration........

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