S.B. Divya is a lover of science, math, fiction, and the Oxford comma. When she isn’t designing high speed communications systems, raising her daughter, scratching the cats, or enjoying dinner with her husband, she writes. In her past, she’s used a telescope to find Orion’s nebula, scuba dived with manta rays, and climbed to the top of a thousand year old stupa. She holds degrees in Computational Neuroscience and Signal Processing, and she is currently Assistant Editor for Escape Pod. Her short stories have been published in various magazines, including Lightspeed and Daily Science Fiction, and her writing appears in the indie game Rogue Wizards.
Her debut science-fiction novella, Runtime, was released by Tor.com Publications in May, 2016. You can find more online at www.eff-words.com or on Twitter as @divyastweets.
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? Who was she?
I have two heroines for this list: Ariane Emory (from CJ Cherryh’s Cyteen) and Elizabeth Bennet (from Jane Austen’s Pride and Prejudice). I fell in love with them in my early teens – later than the playground years, but I was busy running around at that earlier stage of my life and spent less time with books.
Ariane Emory isn’t someone you hear lauded very often even though Cyteen is Hugo-winning trilogy, maybe because she isn’t always the most likeable person in the room. Elizabeth Bennet, on the other hand, is practically a household name these days, but when I got to know her, she was an obscure character from a “required reading” book that most of my peers seemed to abhor.
Can you remember what it was these women did or what qualities they had that captured your affections and your imagination so strongly?
What drew me to both of these heroines is that they, like me, didn’t fit in with the mainstream. Ariane Emory is the clone of a genius scientist, raised with great privilege and loaded with expectations. She rises to the occasion, but in the process, she learns to embrace her individuality and use her intellect to her advantage. I certainly identified with her adolescent angst and her exclusion from general society – I was a top-of-the-class nerd, intended science major, and never quite fit in, either – and I admired her confidence and ownership of her capabilities. Those were two personality traits I didn’t possess.
Elizabeth Bennet isn’t as far removed from general society as Ariane Emory, but she’s also very intelligent, perceptive, and willing to rebel against the standard model of woman in her times. She’s more interested in the qualities of mind and heart than in fashion or status. She’s quick witted, something I desperately wanted to emulate as a pre-teen, and much like Lizzie, I had no desire to marry for money and social comfort. That may sound bland considering how popular Jane Austen is today, but at the time I read Pride and Prejudice it was my first exposure to the author, to that period and setting, and to the idea that there have always been women who resisted their expected role.
How does they compare to the female characters in your work? Are your heroines the literary ancestors of your characters? What might your creations owe them?
My main character in Runtime, Marmeg Guinto, is certainly a rebel, highly intelligent, and resourceful, so she has parallels to Ariane Emory and Elizabeth Bennet. I don’t think I’m capable of writing a female or non-binary protagonist who embraces traditional/conservative roles. I’m lucky that I came across examples of similar heroines at a formative age.
Unlike the two favorites listed here, my character, Marmeg, does not come from a place of privilege. As a kid, I found it romantic to have women in positions of power who could then exercise their will. That might also be an artifact of the 1980s, when feminism was just starting to hammer away at corporate and political glass ceilings. Today, I’m more interested in how we can empower women who aren’t traditionally seen as heroic.
I’m also more class conscious as an adult, and that informs a lot of my fiction. That’s covered much more in Jane Austen’s books than in CJ Cherryh’s. I love the way Austen uses Lizzie as a lens through which to examine society, and (now that I’m thinking about it) that is definitely something I have to credit as an influence. A couple reviews have said that Runtime is as much a work of social commentary as science fiction, and I take that as a compliment.
Another facet of both heroines, but especially Ariane Emory, is their moral grayness. Both of them are flawed, and that is something that my characters exhibit, too. I believe that our flaws and our moral choices are what make us interesting human beings, so I guess it’s no surprise that my favorites are far from perfect.
Bonus round: How do you feel about the word heroine? When I embarked on these posts, I was specifically looking for female authors’ female influences, whether those women they looked up to were other writers or Anne of Green Gables. Does the word heroine have a purpose that isn’t served by equally well by hero?
I don’t love gendered nouns, and I’m trying to break the habit of using them, but they can serve a purpose when you’re trying to highlight the treatment of women. For the word heroine specifically, I think it evokes a particular image – that of the Strong Female Character. Saying that a story has a woman or girl as the main character feels different than saying it has a heroine, in part because of the mythos associated with the root concept of a hero. A heroine by association must be active, in control of herself (as much as anyone is), and destined for greatness.
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 J. Kathleen Cheney, Linda Nagata, and Kay Kenyon. If you prefer something more in the way of an actual index, it’s here.
Kay Kenyon’s latest novels are the fantasies Queen of the Deep, about an enchanted ship, both a colossal steam vessel and a Renaissance kingdom; and A Thousand Perfect Things,about a Victorian woman’s bid for forbidden powers in an altered India of magic. Her science fiction quartet, The Entire and the Rose, was hailed by The Washington Post as “A splendid fantasy quest as compelling as anything by Stephen R. Donaldson, Philip Jose Farmer or yes, J. R. R. Tolkien.”
Her novel Bright of the Sky was among Publishers Weekly’s top 150 books of 2007. Other of her SF works were nominated for the Philip K. Dick Award and the John W. Campbell award. A founding member of the Write on the River conference in Wenatchee, Washington, she is currently working on a paranormal historical mystery.
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?
The earliest fictional stars in my universe were male. Most of the exciting books, whether mysteries or action adventure, were told from the male viewpoint. I think this is one reason I got a late start in feminism: my beloved books had few role models for girls.
(That, and a complicated childhood, where “what do you want to be” was a reach too far for a kid who just wanted to handle the day-to-day.)
This all changed when Dune came out. OK, Paul Atreides. Fine. But the rock stars were the Bene Gesserit. I was no longer a child, but as a young woman I was drilling down into science fiction and becoming enthralled with the sense that the lid was off of confining realities. Other planets, other beings, other value systems. As Dune peeled back layer after layer of the Bene Gesserit, I was smitten.
How did they capture your affections and your imagination so strongly?
Oh boy, where to begin. I loved their quiet, scary strength–and that it didn’t come from innate powers, but from acquired abilities. You could be trained. The key to their power was a frightening intelligence derived from spiritual/mystical disciplines; that appealed immensely. Here was a realm where women could really compete. And they were successful as a group as well as individually: a matriarchy that engaged with geo politics over thousands of years. And what was their reception by the male-dominated world?
They were feared by everyone, derided by many who called them witches or weirding women. And look at the power of the older members of the order, those who became Reverend Mothers. Yet, if you were young and beautiful you could use sex as a power and no one would dare call you a bitch. And by their lights, they were guiding humanity along a path, so there was a vision and a cause to believe in.
How does this compare to the female characters in your work? Are the Bene Gesserit their literary ancestors?
My tribute to the Bene Gesserit came in my fifth book, Maximum Ice, a Philip K. Dick-nominated novel. The Ice Nuns: powerful, tapping into the quasi-crystal Ice of the altered Earth, their version of melange. And in my quartet, The Entire and the Rose, I may have found a subconscious literary inspiration here for Cixi: ancient, supremely political, feared by even the aliens who hold sway, she is the supreme head of the Magisterium.
How do you feel about the word heroine? In these posts, I am specifically looking for female authors’ female influences, whether those women they looked up to were other writers or Anne of Green Gables. Does the word heroine have a purpose that isn’t served by equally well by hero?
For a long time the language has been dropping diminuitive forms of nouns that specify female. (Few people would use “aviatrix” for example.) Eventually “heroine” may pass from use as well. Most people don’t use the word to indicate a female example of a major character except to create a topic-specific, useful category. As you did in this series.
(Otherwise you might have said female protagonist, but that’s a mouthful.) As long as it’s useful in particular contexts it doesn’t bother me.
About this post: The Heroine Question is my name for a series of short interviews with 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 Louise Marley, Juliet McKenna, Alex Bledsoe, and Kelly Robson. If you prefer something more in the way of an actual index, it’s here.
The first chapter books I read (and reread, endlessly), starting when I was five going on six, were a series of history books that had belonged to my mother, all written for red-blooded American girlz. They were biographies, many of them about the childhoods of various U.S. presidents’ wives. The practice of history in these books was not exactly rigorous. Even the non-FLOTUS women’s stories were whitewashed in a way that meant, for example, Jane Addams and Julia Ward Howe’s entire lives were covered in a hundred pages, with charming anecdotes, and without a single mention of the suffrage movement.
I know. Boggle boggle boggle, right?
These were been the books that gave me the typical view of a woman’s viable career options: saint/martyr/kindling, presidential spouse, cannon loader, author, native guide, or founder of such organizations as the Red Cross or the Girl Scouts. I also remember them as having happy endings all round, for Clara Barton and Louisa May Alcott and even for Sacagawea. Though not for Joan of Arc, unless your philosophical outlook can be best summed up as Too bad about the horrifically painful execution, honey, but you got to go to a coronation, and that had to be cool. Also: yay sainthood!
(Joan’s bio was from a different-but-related series; she was the one non-U.S. citizen in the batch).
When I initially launched the Heroine Question interviews, it didn’t occur to me for a second to question whether I should be using an ungendered noun, like hero or protagonist. Or woman protagonist. Honestly I’m a sucker for a good pun, and even more of a sucker for a bad one: I have an entire pinboard full of the things.
I spent twenty minutes of my life making this.
Basically I had a vision. And that vision was a series of posts entitled “Caitlin Sweet kicks Heroine!” and “Martha Wells on her Heroine Habit” and equally questionable clicky fodder.
When I reached out to that first raft of authors who’d be doing heroine here on my blog, I had a fair expectation, based on most of them being in my age cohort, or near that vicinity, and the fiction available to us when we all were kids, about some of the answers I’d get. I’d limited the field to written works or their authors–no TV, no movies, no frickin’ Lara Croft. I figured there’d be answers within the SF and fantasy realm: an essay on Lucy of Narnia fame, maybe Alice of Wonderland, or Meg Murry of A Wrinkle in Time. (That one’s coming.) Tiger Lily from Peter Pan. I also anticipated, correctly, that someone would mention Anne of Green Gables and Jo March from Little Women.
I also thought we’d hear about Emma Woodhouse and Jane Eyre and Karana from Island of the Blue Dolphins and Scout Finch. And authors: Agatha Christie, Nelly Bly and Mary Shelly. (Erma Bombeck was a surprise, but a welcome one.)
I expected my interview subjects would sometimes be picking female characters from novels not generally considered to be genre fiction, in other words. Women who weren’t engaged in universe-saving or fleet-footed-adventuring or anything remotely approaching derring-do. It didn’t, when I was coming up with this particular series, even occur to me that heroine had to mean anything other than 1) showing up to carry a given literary work; 2) inspiring a young writer-to-be.
Much of this unquestioned assumption of mine grew from the fact that heroine was the catch-all term within the educational realm for girl characters. “The heroines of Jane Austen’s novels…” is a time-honored lit crit phrase meaning Lizzie, Emma, Ann, Fanny, Katherine and that drummer whose name I can never remember. “Lucy Maud Montgomery’s hot-tempered heroine…” has long been a valid mouthful of a way to refer to PEI’s favorite redhead. You know, when you’re afraid you’ve somehow used “Anne” one too many times in an English essay.
(Pro tip: Just say Anne again. The essay’s about her… it’s cool.)
Oddly, I think if you said “Jane Austen’s heroes are…”? The answer you’d get much of the time would be Darcy. Knightly. Brandon.
Is this good? Well, no. When one looks at it squarely, it’s even, perhaps, a little queasy-making. The above three dudes aren’t world-savers and they aren’t even the protagonists of the novels they’re in. So it’s sad that some might find it easier to credit Willoughby with heroism for plucking an injured Marianne off a hillside than to bracket Anne Elliot with Tomoe Gozen when the former insists upon visiting a broke and sick old school friend, against her family’s wishes.
Does heroine still have a use, and does it lie solely within the realm of classic literature? Are there modern heroines who aren’t heroes? Should I rename this series “Girlhood heroes of …” or “Chicks we worshipped way back when…”
More importantly, if I do retitle, is there some way to get a faintly tasteless string of puns out of the deal? Extra points if you make me sorry I asked this.