Author Stephanie Burgis
Stephanie Burgis grew up in East Lansing, Michigan but now lives in Wales, surrounded by castles and coffeeshops. She is the author of two historical fantasy novels for adults, Masks and Shadows and Congress of Secrets, both published by Pyr Books. She’s also the author of over thirty short f/sf stories and a trilogy of Regency fantasy novels for younger readers, beginning with Kat, Incorrigible. To find out more and read excerpts from all of her books, please visit her website: www.stephanieburgis.com.
Is there a literary heroine on whom you imprinted as a child? A first love, a person you wanted to become as an adult, a heroic girl or woman you pretended to be on the playground at recess?
I imprinted SO HARD on so many literary heroines as a kid! It’s actually hard to narrow it down – Anne of Green Gables! Jane Eyre! Elizabeth Bennet! Meg Murry! I loved them all – but: when it comes down to it, I identified with Jo March (from Little Women) in SO many ways.
Can you remember what it was she did or what qualities she had that captured your affections and your imagination so strongly?
She was a writer! (Which I already knew I wanted to be, from the time I was seen.) And she was fiercely ambitious with her writing from very early on in her childhood. In the book, she and her sisters even wrote a magazine as kids where she self-published her own stories – and as a kid, I actually did the same, circulating it ONLY among my own family members! Jo loved acting in plays that she’d written, she was wildly romantic, but she was also socially awkward and frequently messed up in important social situations when she most needed to do her best. She dreamed of traveling in Europe, just like I did; she was devoted to her family and she fought fiercely with them too. She felt real to me and she was wonderful.
How does she compare to the female characters in your work? Is she their literary ancestor? Do they rebel against all she stands for? What might your creations owe her?
My MG heroines probably have more in common with her than most of my adult-fic heroines, but there are definite commonalities throughout. I love writing fiercely ambitious and determined heroines (of any age), in the same way that I’ve always imprinted on them as a reader.
In my new historical fantasy novel, Congress of Secrets, I set out to take the trope of the powerful, manipulative, woman who’s often portrayed as a villainess and make her the heroine of the story instead. Caroline, my heroine, has been planning her scheme for years, and now that she’s finally back in Vienna under the guise of a new identity (using the 1814 Congress of Vienna as her excuse for the trip), she’s ready to do whatever it takes to accomplish it…even if she has to resort to the same kind of dark alchemy that ruined her childhood.
However, while she is ruthless in her determination, she’s not unfeeling; like Jo, she’s actually devoted to her family, and her whole scheme is based around trying to save her father from unjust imprisonment. So, while she and Jo March might not have many surface similarities, a few of the essential qualities are the same.
About this post: The Heroine Question is my name for a series of short interviews with (mostly) female writers about their favorite characters and literary influences. Clicking the link will allow you to browse all the other interviews, with awesome people like Linda Nagata, Kay Kenyon, and S.B. Divya. If you prefer something more in the way of an actual index, it’s here.
One of the other books I reviewed this year was the newest by Connie Willis, Crosstalk, a light screwball comedy about the dangers of too much human contact, whether it comes in the form of pushy family, social media, or telepathy.
Kelly introduced me to Connie’s writing when we were first married, so this isn’t the first time I’ve written about her work. Another Tor essay of mine tells new-to-Willis readers how to get started. And here’s a snip of the current review:
In screwball comedies, miscommunication abounds, and many of the minor characters are pathologically single-minded as they pursue a host of weird goals. Crosstalk fits this mold. For example, Briddey’s sister is obsessed with what her daughter might be seeing on the internet… and she doesn’t much care whether it is zombie movies, Disney princesses, or actual terrorists. It’s a normal enough concern, perhaps, something any parent might relate to… until you consider the spy software she has installed on her daughter’s computer, or the fact that she absolutely expects Briddey to happily interrogate her own niece.
Don’t get me wrong, I’d lie and avoid these people, too.
Here’s the cover:
A. M. Dellamonica, 2014, photo by Kelly Robson
Joanna Russ was one of those people you had to read, as a young feminist geek. Not just How to Suppress Women’s Writing, (though obviously How to Suppress Women’s Writing). The Female Man, We Who Are About To…, and The Adventures of Alyx were all so intrinsic to my experience of growing up, coming out, and realizing who I was going to be as I moved through the world that I cannot imagine doing without them. One need only look at the way I tweaked the spelling of my first name to see how deep the influence went.
So it will come to as no surprise to anyone that I am thrilled beyond words to announce that my first ever foray into the world of editing will be as the guest editor of the 2016 Heiresses of Russ: The Year’s Best Lesbian Speculative Fiction series. I will be doing this for Lethe Press with the inimitable Steve Berman.
In case you haven’t heard of it before, this is a reprint anthology. I have already begun reading, albeit slowly, because I am under a mountain of grading so high it requires supplemental oxygen. I wasn’t sure what to expect, and so far it has been a delight.
Projects like this are labors of love. I have fond memories of shipping off manuscripts to Nicola Griffith and Steve Pagel for Bending the Landscape, as a dykey baby SF writer. It was a really different world, or so it seemed. Books like BtL were the Queers Destroy Science Fiction (and Fantasy and Horror) of their time, and it seems apparent to me that if people like Nicola and Steve hadn’t been bending things then, we might not be in a position to destroy anything now. Anyway, whenever I find myself despairing about the state of the world (as I think we all do) I count up our wins. For me the jewel in the queer rights crown is marriage equality, long a development I thought I would not live to see. And now my government is apparently tabling transgendered rights legislation. I suddenly have to wonder if I’m living in a magical world of Oz.
That doesn’t mean there isn’t plenty of broke in the world, so much still in need of fixing. And even wins don’t remain wins if you don’t keep an eye on them. Progress is like a newly shingled roof; time passes, the elements attack and something that seemed so very secure starts springing leaks and throwing shingles. We see this with every political gain… there’s always someone keen to try to roll it back.
And so, in this remarkable year when women swept the Nebula Awards, I want to just open up a can of nostalgia and smell a few of those chapter headings Joanna Russ used to splatter my worldview across a student newspaper office one day in 1985:
She wrote it, but look what she wrote about.
She wrote it, but she shouldn’t have.
She wrote it, but she isn’t really an artist, and it isn’t really art.
Remember that? Screw that. Write what you shouldn’t, people! Projects like Heiresses of Russ: The Year’s Best Lesbian Speculative Fiction are just one way to nail down the shingles, to keep the the rain off as we figure out how to build out the house, to widen the circle to an ever more wonderful and diverse group of writers.
I had to do a fair bit of pondering before I set out to write this essay, which kept it from happening as quickly as I would’ve liked. There were a number of reasons for this, some of which were circumstantial–the holidays, other stuff–and some of which boiled down to wrapping my head around what to say and how to say it.
The Flame in the Maze is Caitlin Sweet’s sequel to 2014’s The Door in the Mountain from Chizine Publications ChiTeen imprint. Taken together, the two novels are a retelling of the story of Theseus and the Minotaur, starting around the time the latter is born and wrapping up, as the myths do, with Theseus sailing away from certain death in gory masculine triumph.
The broad strokes of the story follow those of the myth, so I’m going to be spoilery in a very particular way, in that I’ll assume that you know those strokes. That there’s an inescapable maze, for example, built by Daedalus, and a girl named Ariadne who tells Theseus how to hack the labyrinth so he can slaughter its resident monster and get out.
Sweet’s beautifully nuanced retelling centers around some arguably lucky individuals who are blessed by the gods–godmarked, the Minoans and Greeks call it–and, occasionally, are even born to them. Daedalus’s miraculously crafty hands are a gift from on high, for example, as are the bird-like characteristics of his son, Icarus. Theseus, meanwhile, is a bit of a telepath.
The first book is largely the tale of Ariadne… it has an ensemble cast, but its story is driven by her. Gorgeous, an accomplished dancer, a bona fide princess and malicious to her rotten core, Ariadne is consumed by jealousy for her godmarked sisters and brothers. She’s got a little sister who can open any lock, for one thing. The real focus of her rage, though, is her little brother Asterion, who transforms into a fusion of boy and bull whenever he is exposed to extreme heat.
In The Door in the Mountain, Ariadne plays upon her father’s significant personality defects and convinces him to build the labyrinth of myth as a prison for her brother. She maneuvers him into demanding Athenian sacrifices to Asterion and has the satisfaction not only of seeing her brother imprisoned but of forcing him onto a diet of soylent green and paltry temple offerings.
But although she seems to have pulled off the perfect villainous plan, the cracks are already setting in. A slave girl, Chara, who loves Asterion, has slipped herself in with the latest batch of sacrifices to see if she can save him. And although Ariadne has enlisted the prince Theseus to assassinate her brother, it turns out he’s just not the sort a fellow a girl can trust.
There’s also the minor issue of her father’s eroding mental health. He’s got some ideas whose realization might result in something truly apocalyptic.
The Flame in the Maze reads a little like a time travel novel when it picks up the action from The Door in the Mountain. This illusion prevails due to the fact that the story really gets underway once Theseus is in the maze… but the various character threads require Sweet to bring us up-to-date with people who’ve been trapped in the Labyrinth, and elsewhere, for years. (I love time travel of all sorts, so this section is a little like ravishing a box of bonbons.)
Icarus and his father Daedalus, for example, were locked up by King Minos, not in the Labyrinth but in an isolated cavern elsewhere, with nobody but each other for company. We get to see how they coped. And each set of Athenian sacrifices, the ones tossed into the Labyrinth at two year intervals and presumed dead at Asterion’s horns, has met a slightly different awful fate from the previous cohort.
The story loops back to catch each thread, until the reader and everyone else is, more or less, finally in the same moment. By then, escaping Crete entirely is the only thing any of the characters can hope to do, for there is no stopping the king from achieving his world-shattering plans.
Though Ariadne sowed almost all of the seeds of the story in the first novel, she is very nearly an afterthought in the second. She’s reaping a whirlwind of her own construction, and it’s too powerful for her–for any of them–to dial down. Understandably, nobody is deceived by her anymore. Still, I missed her scheming in this second book. She is the true monster of the story, after all, and even though her brother becomes genuinely fearsome over the course of his imprisonment, it is interesting to compare them, the calculating master villain on the one hand, the helpless prisoner to magical appetite on the other.
Sweet’s take on the familiar myth is true enough to make the story recognizable, and yet its points of difference are numerous and–no surprise, if you know this author’s work–heartbreaking. There are plenty of surprises, and they all feel just right. Of these, the most poignant is the fate of Icarus. Everything that happened to him absolutely wrecked me.
I also came out of the first book shipping Asterion and Chara, and their ultimate fate makes perfect sense. (Other readers will be happy with it too, I think. I hope.)
Different versions of the original myth disagree on whether Ariadne was deliberately abandoned by Theseus on Naxos or if she slept in and was left behind by mistake. Her fate is the final mystery of this book, the last piece of a puzzle as intricate as the Labyrinth itself, and it slides into place with the sureness of a well-wrought lock clicking shut. Perhaps the greatest success of The Flame in the Maze is that it makes you feel as though you won’t get out of the Labyrinth; its author takes you to one of those fictional places you carry ever after, a combination of scar and badge of honor, and a chamber of horrors occasionally–very occasionally–illuminated by its best characters’ moments of humanity and compassion.
Author’s note: Caitlin Sweet is a friend of mine, and that gets one a friendly reading. I can’t claim strict impartiality–though, really, I’m never impartial where books are concerned. If I finished it, I loved it. I will also tell you for free that Sweet did an interview for my The Heroine Question, and you can read that here.
My 2015 books read list is embarrassingly short, in part because I reread quite a few things, in part because I tanked out of a lot of things. This does mean that if it’s on here, it was quite a good book. I also read a stonking pile of short fiction but was miserable at capturing the individual stories. Here’s the list of novels:
1. Hilary Davidson, The Damage Done
2. Hilary Mantel, Bring Up the Bodies
3. Melanie Tem, The Yellow Wood
4. Ian Fleming, Casino Royale
5. Barbara Tuchman, The Guns of August (reread)
6. L.R. Lam, False Hearts (advance copy)
7. Hilary Mantel, Beyond Black
8. Tana French, Faithful Place (reread)
9. Eric Larsen, Dead Wake: The Last Crossing of the Lusitania
10. Robert Wiersema, Black Feathers
11. Tana French, The Secret Place (reread)
12. Hilary Mantel, Wolf Hall (reread)
13. Hilary Mantel, Bring up the Bodies (reread)
14. S.M. Stirling, The Desert and the Blade: A Novel of the Change
15. Fran Wilde, Updraft
16. Daisy Hay, Young Romantics: The Shelleys, Byron, and Other Tangled Lives
17. Amberlough, by Lara Elena Donnelly (advance copy)
18. Minette Walters, The Shape of Snakes (reread)
19. The Last Witness, by K. J. Parker
20. The Ultra Fabulous Glitter Squadron Saves The World Again, by A.C. Wise
21. Experimental Film, by Gemma Files
22. The Flame in the Maze, by Caitlin Sweet
23. Imaginarium 4: The Best Canadian Speculative Fiction, edited by Sandra Kasturi and Jerome Stuart