Book Report: Magic Bites
Apr. 25th, 2007 11:08 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
leahbobet(Published in accordance with the Tenets of Book Reporting and the support of Viewers Like You.)
So far this year...
#1 -- Ursula K. Le Guin, The Tombs of Atuan
#2 -- Ursula K. Le Guin, The Farthest Shore
#3 -- Ursula K. Le Guin, Tehanu
Not-#4 -- Neil Gaiman Anansi Boys
#4 -- John Scalzi, The Android's Dream
#5 -- Carrie Vaughn, Kitty Takes A Holiday
#6 -- Caitlin R. Kiernan, Daughter of Hounds
#7 -- Caitlin R. Kiernan, Threshold
#8 -- Catherynne M. Valente, In the Night Garden
#9 -- James Ellroy, The Cold Six Thousand
#10 -- Minister Faust, From the Notebooks of Doctor Brain
#11-17 Ru Emerson, Night-Threads 1-6
#18 -- Louse Cooper, Avatar
#19 -- Meredith Ann Pierce, The Darkangel
#20 -- Katherine Paterson, Bridge to Terabithia
#21 -- Richard Peck, Remembering The Good Times
#22 -- Patricia A. McKillip, The Forgotten Beasts of Eld
#23 -- Nick Mamatas, Under My Roof
#24 -- Christopher Fry, The Lady's Not For Burning
#25 -- Terry Pratchett, Thud!
#26 -- Eliot Fintushel, Breakfast With the Ones You Love
#27 -- Terry Pratchett, Men At Arms
#28 -- Justine Larbalestier, Magic Lessons
#29 -- Holly Black, Tithe
(I will review any of the above here on request, but with a 30-book backlog, I don't think I'm doing them all just to say what I want about this one.)
#30 -- Ilona Andrews, Magic Bites
I am going to be unfair here. Deeply, drastically unfair, and it's doubly unfair because I mostly enjoyed this book. It's a quick little read (little meant literally: it's quite short) that I burned through in one evening before bed and didn't want to put down. It has some interesting worldbuilding used to best advantage, which a lot of people don't do with their worldbuilding, so bravo. It's fast-paced without being contrived, and has interesting characters, and is overall a strong showing for a first novel. I'll be recommending it at work to people who liked the Carrie Vaughn Kitty books and as a shining example of You Too Can Write Urban Paranormal Fantasy Without Bad Sex In! (I hate that).
The reason I am going to be unfair is because it has finally tipped me off as to...well, why I have a problem with Urban Paranormal Fantasy (aside from the bad sex), and thus I am going to use it to illustrate that problem I have with a whole subgenre. Unfair, see? That problem starts with the Everyone Loves Protagonist effect (even when they don't!), leads into how girls and boys are generally treated in Paranormals, and ends up with responsibility.
In Magic Bites, everyone does seem to want Kate. She has an attractive, rich, nice plot point in Dr. Crest, who pursues her sexually for most of the book. She has Curran, who fights with her all the time but kisses her near the end, who tells her his name even though that's Not Done. She has all sorts of men she's getting special treatment from, and my first reaction was OH MY GOD ENOUGH WITH THE ROMANTIC POWERS OF MARY SUE, especially since she spends about every spare second saying "well I might not be pretty but grr at least I'm tough and those 110 -pound girls couldn't kick ass so there humph", which let me tell you gets irritating when the whole book's throwing itself at you, dear. Until I stopped, realized something, and did a Girl Headcount on the book.
Kate's really the only major character who's female. There's Maxine, who's a receptionist and has two scenes or so. There's Anna, her guardian's ex-wife, who likewise has about two mother-figure scenes from afar. There's four girls who are missing and thus cannon fodder (one ends up with her head staked to Kate's lawn). There's Jennifer, who's a werewolf and again, appears for a scene or two to fill function. There's Olanthe, who goes I AM A VAMPIIRE-- and then gets offed in short order (one scene). And there's a smattering of girlfriends, arm candy, and nameless cannon fodder in and around the place. Why's Kate the person we're having a story told about? Because she's the girl who isn't doing a girl job. Gender is really, really fixed in paranormal urban fantasies. One or the other, and there are fixed attributes for being a boy and being a girl.
Kate isn't being A Girl.
Kate's world is quite literally a man's world. No wonder they all want her; every straight paranormal boy in Atlanta's probably hard up due to the scarcity of girls. And...really, this is pretty characteristic of this genre. Women are rare. When they are there, it's as support characters, enemies, or...well, they're not the protagonist. And she's simultaneously a superwoman and not really a woman at all.
Why's she not really a woman? Well, the paranormal, unless you're a witch, is a boy's world full of boys. It's about strength and killing and toughness and how many swords you have and so forth, especially in werewolf books. The protagonist in this subgenre is a woman, but she's tougher than the boys, has more swords, maybe not stronger because we all know about those weak girl arms but knows how to use what she's got, etc. And it makes her even tougher because she's the one woman playing in their sandbox. So she mouths off to them, and we think ooh, tough, and she kills people, and we think ooh, tough, because nobody slaps her down.
She gets away with being a better boy than the boys. Why? Because she's a girl.
Oh yes. Our protagonist is still A Girl. We can tell because of those breasts and hips she keeps denying she has, while every guy in a five-mile radius wants to either screw or parent her depending on their age bracket. And boys are not supposed to hit girls, so the honourable boys in our stories can't deal with her like she's a boy: thus she gets a reputation for toughness and effectiveness, just because the boys won't hit her unless they're The Villain. She's a loner -- remember, not many other girls here, and boys are generally not for friends, they're Other -- so she can't be socially influenced into falling into line. And she has swords and stuff, so they can't treat her like a girl. Our Protagonist gets her reputation, her successes, her...centrality by gender-transgressing but not in a world where you are either A Boy or A Girl. Her peers just don't know how to deal with her. She doesn't fit into their world, and nobody else would think to be both a Boy and a Girl. So she ends up Out-Boying the boys, Out-Girling the girls, and if she's accomplishing more than every other character in the world, she must be...
What? Let's hear it?
Special.
So here's the new theory. The fantasy here isn't about being a capable woman, or a tough one, or anything like that. The fantasy is about Out-Boying the Boys and Out-Girling the Girls and most importantly, getting away with it. Because if you act according to both gender roles, nobody can hold you to account. Nobody can say "you're not acting right" because you're acting right for a boy but you're still retaining the "privileges" of being a girl in this kind of rigid gender role world: you can get sad and faint once you've killed the bad guy. You can accept the protection of the army of boys because there's sexual threat involved and that's what girls do. You can be weak when you want to be loved. You can mouth off, get people killed, screw up your local werewolf hierarchy, and whatnot, because why would you know better? You're a girl. You're a girl, so if you're tough the boys should respect and love you when you fuck up bad. You're getting the privileges of both gender roles and the negatives of neither.
And if nobody can ever hold you to account, you essentially never take a consequence.
The fantasy here, folks, is lack of responsibility for one's actions.
So why did Magic Bites make me think of all this, so I can be unfair to it? Well, it's about responsibility on one level. Kate says a few times she doesn't want to be responsible for others; when she is, she does blow it. The end is someone telling her that this feeling in her gut is being responsible for others and accountable in terms of her actions. She is supposedly reintegrated into society.
But y'know? She's not. Not really. And I don't feel that feeling in her gut.
She didn't learn responsibility, because she didn't take consequences.
So...I liked this book. It was a good read. But I'm not sure how much of this subgenre I'll be able to take in. Because it's someone's world -- I suspect it's the world of the people who used to read period piece romance and admit it or not admit it -- but it's not mine. In my world, there are consequences. Always.
My Mary Sues, my fantasy-projection characters, they are not these. Because I've been the one girl in a group of boys, in a boy-world, and y'know what? Being tough, being mouthy, using your tits as a weapon while denying that they're there?
It doesn't get you respect.
So far this year...
#1 -- Ursula K. Le Guin, The Tombs of Atuan
#2 -- Ursula K. Le Guin, The Farthest Shore
#3 -- Ursula K. Le Guin, Tehanu
Not-#4 -- Neil Gaiman Anansi Boys
#4 -- John Scalzi, The Android's Dream
#5 -- Carrie Vaughn, Kitty Takes A Holiday
#6 -- Caitlin R. Kiernan, Daughter of Hounds
#7 -- Caitlin R. Kiernan, Threshold
#8 -- Catherynne M. Valente, In the Night Garden
#9 -- James Ellroy, The Cold Six Thousand
#10 -- Minister Faust, From the Notebooks of Doctor Brain
#11-17 Ru Emerson, Night-Threads 1-6
#18 -- Louse Cooper, Avatar
#19 -- Meredith Ann Pierce, The Darkangel
#20 -- Katherine Paterson, Bridge to Terabithia
#21 -- Richard Peck, Remembering The Good Times
#22 -- Patricia A. McKillip, The Forgotten Beasts of Eld
#23 -- Nick Mamatas, Under My Roof
#24 -- Christopher Fry, The Lady's Not For Burning
#25 -- Terry Pratchett, Thud!
#26 -- Eliot Fintushel, Breakfast With the Ones You Love
#27 -- Terry Pratchett, Men At Arms
#28 -- Justine Larbalestier, Magic Lessons
#29 -- Holly Black, Tithe
(I will review any of the above here on request, but with a 30-book backlog, I don't think I'm doing them all just to say what I want about this one.)
#30 -- Ilona Andrews, Magic Bites
I am going to be unfair here. Deeply, drastically unfair, and it's doubly unfair because I mostly enjoyed this book. It's a quick little read (little meant literally: it's quite short) that I burned through in one evening before bed and didn't want to put down. It has some interesting worldbuilding used to best advantage, which a lot of people don't do with their worldbuilding, so bravo. It's fast-paced without being contrived, and has interesting characters, and is overall a strong showing for a first novel. I'll be recommending it at work to people who liked the Carrie Vaughn Kitty books and as a shining example of You Too Can Write Urban Paranormal Fantasy Without Bad Sex In! (I hate that).
The reason I am going to be unfair is because it has finally tipped me off as to...well, why I have a problem with Urban Paranormal Fantasy (aside from the bad sex), and thus I am going to use it to illustrate that problem I have with a whole subgenre. Unfair, see? That problem starts with the Everyone Loves Protagonist effect (even when they don't!), leads into how girls and boys are generally treated in Paranormals, and ends up with responsibility.
In Magic Bites, everyone does seem to want Kate. She has an attractive, rich, nice plot point in Dr. Crest, who pursues her sexually for most of the book. She has Curran, who fights with her all the time but kisses her near the end, who tells her his name even though that's Not Done. She has all sorts of men she's getting special treatment from, and my first reaction was OH MY GOD ENOUGH WITH THE ROMANTIC POWERS OF MARY SUE, especially since she spends about every spare second saying "well I might not be pretty but grr at least I'm tough and those 110 -pound girls couldn't kick ass so there humph", which let me tell you gets irritating when the whole book's throwing itself at you, dear. Until I stopped, realized something, and did a Girl Headcount on the book.
Kate's really the only major character who's female. There's Maxine, who's a receptionist and has two scenes or so. There's Anna, her guardian's ex-wife, who likewise has about two mother-figure scenes from afar. There's four girls who are missing and thus cannon fodder (one ends up with her head staked to Kate's lawn). There's Jennifer, who's a werewolf and again, appears for a scene or two to fill function. There's Olanthe, who goes I AM A VAMPIIRE-- and then gets offed in short order (one scene). And there's a smattering of girlfriends, arm candy, and nameless cannon fodder in and around the place. Why's Kate the person we're having a story told about? Because she's the girl who isn't doing a girl job. Gender is really, really fixed in paranormal urban fantasies. One or the other, and there are fixed attributes for being a boy and being a girl.
Kate isn't being A Girl.
Kate's world is quite literally a man's world. No wonder they all want her; every straight paranormal boy in Atlanta's probably hard up due to the scarcity of girls. And...really, this is pretty characteristic of this genre. Women are rare. When they are there, it's as support characters, enemies, or...well, they're not the protagonist. And she's simultaneously a superwoman and not really a woman at all.
Why's she not really a woman? Well, the paranormal, unless you're a witch, is a boy's world full of boys. It's about strength and killing and toughness and how many swords you have and so forth, especially in werewolf books. The protagonist in this subgenre is a woman, but she's tougher than the boys, has more swords, maybe not stronger because we all know about those weak girl arms but knows how to use what she's got, etc. And it makes her even tougher because she's the one woman playing in their sandbox. So she mouths off to them, and we think ooh, tough, and she kills people, and we think ooh, tough, because nobody slaps her down.
She gets away with being a better boy than the boys. Why? Because she's a girl.
Oh yes. Our protagonist is still A Girl. We can tell because of those breasts and hips she keeps denying she has, while every guy in a five-mile radius wants to either screw or parent her depending on their age bracket. And boys are not supposed to hit girls, so the honourable boys in our stories can't deal with her like she's a boy: thus she gets a reputation for toughness and effectiveness, just because the boys won't hit her unless they're The Villain. She's a loner -- remember, not many other girls here, and boys are generally not for friends, they're Other -- so she can't be socially influenced into falling into line. And she has swords and stuff, so they can't treat her like a girl. Our Protagonist gets her reputation, her successes, her...centrality by gender-transgressing but not in a world where you are either A Boy or A Girl. Her peers just don't know how to deal with her. She doesn't fit into their world, and nobody else would think to be both a Boy and a Girl. So she ends up Out-Boying the boys, Out-Girling the girls, and if she's accomplishing more than every other character in the world, she must be...
What? Let's hear it?
Special.
So here's the new theory. The fantasy here isn't about being a capable woman, or a tough one, or anything like that. The fantasy is about Out-Boying the Boys and Out-Girling the Girls and most importantly, getting away with it. Because if you act according to both gender roles, nobody can hold you to account. Nobody can say "you're not acting right" because you're acting right for a boy but you're still retaining the "privileges" of being a girl in this kind of rigid gender role world: you can get sad and faint once you've killed the bad guy. You can accept the protection of the army of boys because there's sexual threat involved and that's what girls do. You can be weak when you want to be loved. You can mouth off, get people killed, screw up your local werewolf hierarchy, and whatnot, because why would you know better? You're a girl. You're a girl, so if you're tough the boys should respect and love you when you fuck up bad. You're getting the privileges of both gender roles and the negatives of neither.
And if nobody can ever hold you to account, you essentially never take a consequence.
The fantasy here, folks, is lack of responsibility for one's actions.
So why did Magic Bites make me think of all this, so I can be unfair to it? Well, it's about responsibility on one level. Kate says a few times she doesn't want to be responsible for others; when she is, she does blow it. The end is someone telling her that this feeling in her gut is being responsible for others and accountable in terms of her actions. She is supposedly reintegrated into society.
But y'know? She's not. Not really. And I don't feel that feeling in her gut.
She didn't learn responsibility, because she didn't take consequences.
So...I liked this book. It was a good read. But I'm not sure how much of this subgenre I'll be able to take in. Because it's someone's world -- I suspect it's the world of the people who used to read period piece romance and admit it or not admit it -- but it's not mine. In my world, there are consequences. Always.
My Mary Sues, my fantasy-projection characters, they are not these. Because I've been the one girl in a group of boys, in a boy-world, and y'know what? Being tough, being mouthy, using your tits as a weapon while denying that they're there?
It doesn't get you respect.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2007-04-25 05:03 pm (UTC)My protag's a middle-aged woman. Again. No other woman in the work would occupy the same amount of page time, but that's because she's, well, the protag/POV.
Intimidating woman? That's a term that makes me grit my teeth. Part of me wants to tell the put-upon boys to get over themselves, but I guess it depends on the amount of kickass in the kickass. Because I like kickass, but it requires some leavening with things like consequences, the understanding that things were lost because the kickass got in the way. All of which falls under 'character development' and makes things interesting.
FWIW, I've run afoul of male readers who want All Kickass All The Time, and file any rumination or self-doubt under the header of "whining." The criticsm bugs me, but I push past it because I am trying to write Thinking Woman's Kickass, which allows for friends of both sexes, coffee breaks, and occasional indications of a sense of humor.
I should say that the UPF with which I have the most experience in the Anita Blake series. Loved the first seven or so, but stopped reading after Obsidian Butterfly. Haven't read any of the others, although I've tried. They lose me, for various reasons.
no subject
Date: 2007-04-25 05:10 pm (UTC)You just sold a copy. *g*
And yeah, I have trouble with the Intimidating Woman label myself. It seems to say more about the user than the person it's applied to, until people try to play to the stereotype, and we get UPF characters. Where it's exaggerated almost as if it's satire but missing the mark.
I've never actually touched the Anita Blake stuff. They'd started to suck by the time I got to the point where I might have read them, so I just never started and don't plan to. I've read enough of its descendants, though, to have a pretty good idea what goes on, which is interesting. I wonder if this is how it felt to read Lord of the Rings after playing D&D for five years... *g*
no subject
Date: 2007-04-25 05:23 pm (UTC)I totally blame her for the Harem Need in all the rest of the paranormal romances with vampires and wolves. (It sure didn't come from Buffy, that I can see, what with her serial monogamy.)(In a related note, I think there's maybe a...mary sue suggestion that what guys *should* want is a kick ass chick in all these Harems. I'm not sure why the mary sue, since i have yet to meet an author who'd really qualify as a kick ass chick.)
no subject
Date: 2007-04-25 05:34 pm (UTC)Heh, yes. You don't want those bimbos! You want meeee!
It could be Mary Sue if it's what the author wants to be, right?
no subject
Date: 2007-04-25 05:47 pm (UTC)I think Kameron Hurley will be at Wiscon!
no subject
Date: 2007-04-25 05:53 pm (UTC)no subject
Date: 2007-04-25 05:40 pm (UTC)no subject
Date: 2007-04-25 05:43 pm (UTC)