The way women are portrayed is changing. In film, The Favourite has won numerous awards and features three women, variously wild and untameable, as joint protagonists. Other movies such as The Wife and Can You Ever Forgive Me? show older or unlovely women as sympathetic leads. Brava! But what’s happening in fiction? What are readers looking for in their modern, made-up women?
In this period of widening gender equality, it seems the time is right for new portrayals of women in fiction. Readers are diverse, and want many different things, and various female “archetypes” have existed since storytelling began. Early tales included murderesses and proxy witches such as the Greek figure Medea and Grendel’s mother – who is nameless – from the Old English poem Beowulf.
There were deceiving femme fatales, such as the Sirens who lured sailors to shipwreck, tragic mistresses, including Dido and Cleopatra and poor, resourceful girls like Gretel in traditional fairy-tales.
These enduring archetypes have been customised and reimagined by each succeeding generation. Chaucer’s Wife of Bath is full of worldly wisdom and Shakespeare presented women who were wily and devious like Portia and Lady Macbeth as well as tricked and deceived like Juliet and Desdemona.
Victorian heroines like George Eliot’s Dorothea Brooke claimed their right to passion and equality – and in the 20th century female characters engaged with the world of work as well as matters of the heart, battling for self-determination. The eponymous heroine of Muriel Spark’s The Prime of Miss Jean Brodie is one example, setting out to impose her will on her impressionable students, though she is ultimately betrayed.
So where do we find ourselves now? One notable characteristic of the modern heroine is that her flaws are not only centre stage, they are celebrated. Jane Austen wondered if anyone but herself would like domineering Emma Woodhouse – but now every heroine worth her salt has as many vices as virtues. Women behaving badly fill the pages of books in every genre – from Katniss Everdene, the rebellious heroine of Suzannne Collins’ The Hunger Games to Frances Wray and Lilian Barber, the unlikely conspirators in Sarah Waters’ page-turning novel The Paying Guests.
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There is also a recognition that female experience is as universal as male experience. The heroines of contemporary fiction reflect the rich diversity of female lives. Examples include Hortense Roberts, one of the main characters in Andrea Levy’s seminal novel Small Island who finds tenderness in her bleak new homeland, and Elizabeth Strout’s astonishing Olive Kitteridge, whose true complexity is revealed in a narrative that spans decades. Their everyday experiences are compelling and heartrending.
Genres are blending and heroines are complicated. They are morally ambiguous and their behaviour is unpredictable. The doomed mistress is fighting back and taking on the characteristics of the proxy witch. This is demonstrated by the typical heroine of the new crime sub-genre domestic noir which focuses on women’s experience and emotions in the home and workplace. She may find herself married to the modern equivalent of Bluebeard, but he is unlikely to get away with murder. This is exemplified in novels like Gone Girl – Amy Dunne outsmarts her husband and excels in trickery, cunningly creating mantraps while seeming to be the perfect wife.
Scarred, imperfect or absurd
Publishing’s latest passion is for redemptive, feel-good fiction, known as “up-lit”, and this also reinterprets existing tropes. Gail Honeyman’s lonely Eleanor Oliphant hits the vodka behind closed doors and attempts to conceal her dysfunctionality and traumatic childhood from the world, but is stronger and more able to grow than we first realise. One of the reasons for Eleanor’s wide appeal may be that she springs from a line of literary heroines – that of the spirited outsider.
Honeyman draws parallels between Eleanor and Jane Eyre, another abandoned child who finds her own path. Readers are engaged not only by Eleanor’s predicament, but by her determination to transcend disaster. Her most recent antecedent is Helen Fielding’s Chardonnay-swilling Bridget Jones, who is herself the direct descendant of Jane Austen’s best-loved heroine, Elizabeth Bennet.
Women who make their own rules are selling well in literary fiction too. In Conversations with Friends, Sally Rooney’s young Bohemians Frances and Bobbi are brimming with anarchic attitude, sharing “a contempt for the cultish pursuit of male physical dominance” and luxuriating in “shallow misery”. They lead unapologetically experimental lives, creating ripples of sexual confusion.
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Following the various cases of male bullying and sexual harassment that have hit the headlines, it seems that fictional heroines reflect a mood of noncompliance with the world that men have organised. The 21st-century heroine may be scarred, imperfect or absurd. True love may be on the cards, but so might illicit sex. And while she may change in the course of the narrative, revealing strengths and strategies that surprise us, conformity is optional. Here’s to the good/bad heroine, long may she remain unredeemed.
Sally O’Reilly, Lecturer in Creative Writing, The Open University
This article is republishJane Austened from The Conversation under a Creative Commons license.