The Heroine with 1001 Faces
Page 37
29.Suzanne Collins, The Hunger Games (New York: Scholastic, 2008), 8. Additional quotations are from pages 30, 127, 43, 35, 29.
30.Rick Margolis, “The Last Battle: With ‘Mockingjay’ on Its Way, Suzanne Collins Weighs In on Katniss and the Capitol,” School Library Journal, 56 (2010): 21–24.
31.Katha Pollitt, “The Hunger Games’ Feral Feminism,” Nation, April 23, 2012.
32.Maria Tatar, “Philip Pullman’s Twice-Told Tales,” New Yorker, November 21, 2012.
33.Philip Pullman, The Golden Compass (New York: Dell Yearling, 2001), 150.
34.“Questions and Answers,” Philip Pullman, http://www.philip-pullman.com/qas?searchtext=&page=6.
35.“Questions and Answers.”
36.Tannen, The Female Trickster, 26.
37.C. W. Spinks focuses on the world-making qualities of tricksters, emphasizing their capacity for making and undoing signs: “Contradiction, irony, deception, duplicity, inversion, reversal, oxymoron, paradox: These are the tool kit of negation, ambivalence, and ambiguity that Trickster uses to make and remake culture.” See “Trickster and Duality,” in Trickster and Ambivalence: Dance of Differentiation (Madison, WI: Atwood, 2001), 14.
38.Anna Westerståhl Stenport and Cecilia Ovesdotter Alm, “Corporations, Crime, and Gender Construction in Stieg Larsson’s The Girl with the Dragon Tattoo,” Scandinavian Studies 81, no. 2 (June 2009): 171.
39.Donald Dewey, “The Man with the Dragon Tattoo,” Scandinavian Review 97 (2010): 78–83.
40.David Geherin, The Dragon Tattoo and Its Long Tail: The New Wave of European Crime Fiction in America (Jefferson, NC: McFarland, 2012), 22.
41.As Tamar Jeffers McDonald points out, this “futuristic retelling” of the Bluebeard tale reveals that neither the heroine nor the villain of the story is “inevitably associated with specific genders.” See her “Blueprints from Bluebeard,” in Gothic Heroines on Screen: Representation, Interpretation, and Feminist Inquiry, ed. Tamar Jeffers McDonald and Frances A. Kamm (New York: Routledge, 2019), 51.
42.Wesley Morris, “Jordan Peele’s X-Ray Vision,” New York Times, December 20, 2017.
EPILOGUE: LIFT-OFF
1.Apollodorus’ Library and Hyginus’ Fabulae, trans. R. Scott Smith and Stephen M. Trzaskoma (Indianapolis: Hackett, 2007), 128.
2.Rebecca Solnit, Men Explain Things to Me (Chicago: Haymarket Books, 2014), 116–17.
3.Natalie Haynes, Pandora’s Jar: Women in the Greek Myths (London: Picador, 2020), 2.
4.Hélène Cixous, “The Laugh of the Medusa,” Signs 1 (1976): 875–93.
5.Two recent studies of Helen reflect in their subtitles the complexities in our new understanding of Helen and her role in the Trojan War. See Ruby Blondell, Helen of Troy: Beauty, Myth, Devastation (Oxford: Oxford University Press, 2013) and Bettany Hughes, Helen of Troy: Goddess, Princess, Whore (New York: Knopf, 2005).
6.Chimamanda Ngozi Adichie, “The Danger of a Single Story,” presented July 2009 at TEDGlobal 2009, https://www.ted.com/talks/chimamanda_ngozi_adichie_the_danger_of_a_single_story/transcript?language=en.
7.See Teresa Mangum, “Dickens and the Female Terrorist: The Long Shadow of Madame Defarge,” Nineteenth-Century Contexts 31 (2009): 143–60.
8.Diane Purkiss, The Witch in History (New York: Routledge, 1996), 48.
9.Jens Andersen, Astrid Lindgren: The Woman behind Pippi Longstocking, trans. Caroline Waight (New Haven, CT: Yale University Press, 2018), 129.
10.See especially Kathryn J. Atwood, Women Heroes of World War I: 16 Remarkable Resisters, Soldiers, Spies, and Medics (Chicago: Chicago Review Press, 2016).
11.Atwood, Women Heroes of World War I, 121.
12.Alexis S. Troubetzkoy, A Brief History of the Crimean War (London: Robinson, 2006), 208.
13.Cassandra: Florence Nightingale’s Angry Outcry against the Forced Idleness of Women, ed. Myra Stark (New York: Feminist Press, 1979), 29.
14.Alice Marble, “Clara Barton,” Wonder Women of History, DC Comics, 1942.
15.H. Judson, Edith Cavell (New York: Macmillan, 1941), 236.
16.The New York Times Current History: The European War, 1917 (New York: Kessinger, 2010), 454.
17.Thomas Szasz, The Manufacture of Madness (New York: Harper & Row, 1970), 55, 91.
INDEX
Page numbers listed correspond to the print edition of this book. You can use your device’s search function to locate particular terms in the text.
Abduction of Europa, The (Rembrandt), 54, 54
Abrahams, Roger, 124
Achilles, 45
action/conflict and, 27
choice of, 198–99
healing and, 282
heroic behavior and, 28–29
unpredictability of, 2
women’s reimaginings and, 32, 40–41, 45, 46
action/conflict
gender binary stereotypes and, 26–27
heroic behavior and, xx, 7, 8, 27, 37–38, 40
hero’s journey and, 6, 16, 20, 26–27, 292n24
oral vs. written traditions and, 27
peripheral role of women and, 28, 292n24
storytelling and, 8–9, 292n7
women’s reimaginings and, 40–41
Adams, Harriet, 304n23
Adichie, Chimamanda Ngozi, 280
Adventures of Huckleberry Finn, The (Twain), 177, 193
Aeneid, The (Virgil), 26–27, 43–44
Aeschylus, 57, 275
Aesop, 301n13
Afanasev, Alexander, 98, 117
Against Empathy (Bloom), xix
agency
speaking out and, 70, 90
tricksters and, 239, 307n6
women’s reimaginings and, 15
Alcott, Abigail (Abba), 168
Alcott, Louisa May
genre invention and, xxii, 170
“Happy Women,” 171, 178, 200
nursing and, 169–70, 184, 285
success of, 171–72
See also Little Women
Alger, Horatio, Jr., 212
Alice’s Adventures in Wonderland (Carroll), 167, 256
All the King’s Men, 237
Almodóvar, Pedro, 237
Almy, Lilly, 168
altruism
female detectives and, 209, 210
healing and, 281–87
heroine’s mission and, 5, 6, 75–76, 169–70, 173, 183
storytelling and, 11, 75–76, 187
women’s writing and, 171–72
Always #LikeAGirl campaign, 259
Amazons, 26, 230, 293n31
Amityville Horror, The, 273
Anansi, 69, 239, 246
ancestral wisdom, 136–37, 147–49
“Ancient Gesture, An” (Millay), 293n36
Andersen, Hans Christian, 5, 63
Andromeda, 25, 280
animal laborans, 37–38
Anna Karenina (Tolstoy), 26, 154
Anne of Green Gables (Montgomery), 168, 173–80
Anne with an E, 175
Aphrodite, 25
Apollo, 65
appetite
tricksters and, 239, 242–43, 244, 267, 269
warrior women and, 263–64
Apuleius, 4–5, 112
Aquinas, Thomas, 288
Arabian Nights. See Thousand and One Nights, The
Arachne, xvii–xviii, 25, 65–69
Aragorn, 261
archetypes, xv, 22, 203
See also gender binary stereotypes; heroine’s mission; hero’s journey
Arendt, Hannah, xiii, 8–9, 37, 48, 120, 292n7
Aristotle, 156, 157
Artemis, 25
“Art of Fiction, The” (Ellison), 147
Ashton, Brodi, 47
Asquith, Herbert Henry, 287
Athena, xviii, 25, 65–69, 295n25
“At Ithaca” (Doolittle), 293n36
Atropos, 65
Atwood, Margaret
fairy tales and, 144–47, 149
on Penelope, 15, 32, 33, 34, 35–37, 38, 40, 239
Auden, W. H., 108
Augustine, Saint, 51, 167
Austen, Jane, 27, 174
Austin, J. L., 78
autofiction, 170, 174, 180–81, 202
Avengers, The, 258
Baghban, Hafizullah, 86–87
Bailey, F. G., 121–22
Barker, Pat, 15, 43–47, 48, 104, 283
Baron-Cohen, Simon, xix
Barthes, Roland, 143
Barton, Clara, 284, 286
Basile, Giambattista, 81–82, 112, 117, 118–19, 127–28
Bassil-Morozow, Helena, 307–8n13
Batman, 258
Batten, John, 12, 158–59
Battleground, 237
Baumbach, Noah, 237
“Bay City Blues” (Chandler), 207
Beard, Mary, 58
beauty, 30, 134, 278–80
Beauty and the Beast (Disney), 144, 258–59
“Beauty and the Beast” (French folktale), 142
Bechdel test, 259, 308n27
Beloved (Morrison), 15, 72
Benson, Mildred Wirt, 208, 212, 213, 214, 304n23
Beowulf, 27
Bergström, Lasse, 247
Bernard de Clairvaux, 156
Best Years of Our Lives, The, 237
Bible
Job, 26
reimaginings of, 266–68
Virgin Mary, 60
Whore of Babylon, 163
women as duplicitous in, 74
See also Eve
Bibliotheca, 59
Bigelow, Kathryn, 240–41
Biggers, Earl Derr, 219
binary stereotypes. See gender binary stereotypes
Bionic Woman, The, 258
Birds, The (Hitchcock), 241
Black Boy (Wright), 274
Black Lives Matter, 194, 195
Black traditions
ancestral wisdom and, 147–49
oral vs. written traditions and, 46
storytelling and, 107, 298n6
Blanche on the Lam (Neely), 227
Bleak House (Dickens), 190
“Bloody Chamber, The” (Carter), 141–43
Bloody Chamber and Other Stories, The (Carter), 141–44
Bloody Key trope, 166–67
Bloom, Paul, xix
Bluebeard, 165
curiosity and, 164–67
bowdlerization for children and, 126
female tricksters and, 247, 271
gender fluidity and, 309n41
healing and, 129
race and, 272–74
women’s reimaginings, 142, 145–47
“Bluebeard’s Egg” (Atwood), 145–47
Bly, Robert, 22
Boas, Franz, 137
Boccaccio, Giovanni, 61, 119
bodily mutilation, 61–64, 102, 265
Book of Fairy Tales (Carter), 98
Brer Rabbit, 148–49
Bright, Matthew, 253–54
Briseis, 32, 44–47, 45, 48, 283
Brody, Richard, 193–94
Brontë, Charlotte, 105–7, 172, 174
Brooks, Paul, 139
Brown, Helen Gurley, 198, 199, 203, 289
Brown Girl Dreaming (Woodson), 194
Buffy the Vampire Slayer, 255
Bulwer-Lytton, Edward, 280
Bungalow Mystery, The (Keene), 213
Bunyan, John, 170
Burke, Tarana, 35
Burne-Jones, Edward Coley, 62
Burney, Frances, 136
Burton, Richard, 74
Buruma, Ian, 186
Bushnell, Candace, 201–2, 203
Byng, Jamie, 33
Byrne, Olivia, 232
Byron, Lord, 155
Calliope, 42–43
Callisto, 295n21
Calvino, Italo, 147
Campbell, Joseph, xv
academic reception of, xiv–xv
background of, 16–17
on domesticity, 199
on fairy tales, xx, 1–2, 3–4, 11, 18, 236
gender binary stereotypes and, xv–xvi, 2–3, 152, 268
on heroic behavior, 2
Jungian philosophy and, xv
Madam Secretary and, 288
on The Odyssey, 36–37
on regeneration of myth, 235–37, 241–42, 275
See also hero’s journey; Hero with a Thousand Faces, The
Canosa, Alexandra, 94
Cˇapek, Karel, 119, 270
Captains Courageous (Kipling), 177
Caravaggio, 278
Carlyle, Thomas, 38–39
Carrie Diaries, The (Bushnell), 201–2, 203
Carroll, Lewis, 167, 267, 284
Carter, Angela, 98, 116, 138, 140–44, 149, 150, 299n41
Carter, Lynda, 258
Casablanca, 21, 237
Cassandra, 27, 32, 40–42, 41, 275–77, 276, 282
“Cassandra” (Nightingale), 285–86
Cassandra (Wolf), 32, 40–42
Catch and Kill (Farrow), 94, 205
“Catskin,” 111, 127
Cavell, Edith, 286–87
Cellini, Benvenuto, 278
Chandler, Raymond, 207, 225
Charlotte’s Web (White), 49–50
Chasing Cosby, 205
Chaucer, Geoffrey, 119
Cherington, Gretchen, 105
Chesterton, G. K., 218
Child, Francis James, 83
childbirth, 197
Children’s Stories and Household Tales (Brothers Grimm), 3, 129
See also Grimms’ fairy tales
Christie, Agatha, 151, 154, 206–7, 218, 219–20, 221–24
Christina, Saint, 63
Chronicles of Narnia, The (Lewis), 261
Cid, El, 27
Cinderella (Disney), 127
“Cinderella” (Sexton), 283
Circe, xvii, 15–16, 23, 47–48, 258
Circe (Miller), xvii, 15–16, 47–48
Citizen Kane, 237
civil rights movement, 110
Civil War, 184, 284, 285, 286
Cixous, Hélène, xvi–xvii, 277, 289
Classical Tradition, The, 59–60
Clinton, Hillary, 209
Closter, 65
Clotho, 65
Clue in the Diary, The (Keene), 211
Clytemnestra, 30, 282
Coffey, John, 193
Collins, Suzanne, 263, 264–65
Color Purple, The (Walker), 70–71, 72
comic books, 151–52, 153, 228–34
coming-of-age stories, 154, 174, 181–82
See also literary girl heroines
“Company of Wolves, The” (Carter), 141–42
Contes de ma mère l’Oye (Perrault), 118
Cosmo Girl, 198
Count of Monte Cristo, The (Dumas), 154
“Courtship of Mr. Lyon, The” (Carter), 142
Cousin, Jean the Elder, 162, 162
Covarrubias, Sebastián de, 301n9
Coyote, 238, 247
Crane, Walter, 89, 160, 161
Creation of Pandora (Batten), 158–59
Crimean War, 285
Cross, Amanda, 220, 225–26
Cruikshank, George, 117
Cú Chulainn, 2, 26
“Cupid and Psyche” (Apuleius), 4–5
Cura, 155
curiosity
“Bluebeard” and, 164–67
condemnation of, xiv, 156, 157
definitions of, 154–56, 301n9
empathy and, xx
Eve and, 156
female detectives and, 154, 214, 221
heroine’s mission and, 4, 152, 153, 154
lack of, 191
Little Women on, 167
Pandora and, 156, 157–62, 301n13, 302n19
sexuality and, xxii, 153–54, 158, 162, 163, 167, 302n19
survival and, 163–64
temptation and, 5, 74, 159, 165–66
Curious Mind, A (Grazer), 152
Daedalus, 53
Dahl, Roald, 168
Danaë, 25, 59–61, 60
, 143
Darling, Tellulah, 47
Darwin, Charles, 80
D’Aulaires’ Book of Greek Myths, 159, 280
David Copperfield (Dickens), 27
Dearmer, Mrs. Percy, 3
Death in a Tenured Position (Cross), 225
de Beauvoir, Simone, 24–25, 153–54
denunciation narratives. See speaking out
de Retza, Franciscus, 60
detective fiction, 218–20
See also female detectives
de Troy, Jean-François, 56
Diary of a Young Girl, The (Frank), 184–88, 189
Dickens, Charles, 26, 27, 154, 190, 216–18, 217, 223, 281
Dickinson, Emily, 205
Didion, Joan, 95–96, 202
Dismal Tale, The (Stothard), 115
Disney films
fairy tales and, 79–80, 127, 143, 259
female detectives and, 214
gender binary stereotypes in, 258–59
imagination and, 179
race and, 193
warrior women in, 259–61
Divine, 258
domesticity
female detectives and, 223
feminism on, 198
fragility of, 199
heroic behavior and, 36
hero’s journey and, 21
importance of, 296n46
literary girl heroines and, 168, 173, 177–78, 181
peripheral role of women and, 28, 29
Scheherazade and, 78
tricksters and, 239
women writers and, 224
See also traditional women’s work
Don Juan (Byron), 155
“Donkeyskin” (English folktale), 111, 126, 127
Doolittle, Hilda, 293n36
Doré, Gustave, 165
double consciousness, 187, 192, 273
Double Indemnity, 241
Doyle, Arthur Conan, 206
See also Sherlock Holmes
Doyle, Sady, 291n5
Du Bois, W. E. B., 273
Dulac, Edmund, 10
Dumas, Alexandre, 154
Dunham, Lena, 203, 204, 205
Dürer, Albrecht, 222
Effi Briest (Fontane), 154
Eliot, George, 136
ELIZA, 91–92
Ellison, Ralph, 147, 148–49
Emotions of Normal People (Marston), 229
Empathic Civilization, The (Rifkin), xix
empathy
current focus on, xviii–xx
intermediaries and, 86
justice and, 196
literary girl heroines and, 190–91, 192–93, 194
software for, 92
Enchanted (Disney), 261
“Enchanted Pig, The” (Romanian folktale), 5
endurance, 4–5, 25, 26, 37, 128
epistemophilia, 163, 205, 302n19
See also curiosity
Erasmus, Desiderius, 157, 159
Estés, Clarissa Pinkola, xviii, 128
Euripides, 39–40, 71–72
Europa, 25, 52–58, 53, 54, 58, 295n21