![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
(no subject)
Jun. 5th, 2026 09:57 pmIn addition to all the Perns, I have also been reading some non-Pern McCaffreys! At this point this includes:
The Ship Who Sang, in which a young woman gains beyond-human powers through being indentured to a corporation which provides her with wealth and status while simultaneously keeping her locked in endless responsibility and debt, loses the thing she cares about most in the world, and desperately seeks a life partner, eventually finding one in her manipulative boss
Crystal Singer, in which a young woman loses everything she cares about in the world, gains beyond-human powers through being indentured to a corporation which provides her with wealth and status while simultaneously keeping her locked in endless responsibility and debt, and, despite not seeking a life partner, nonetheless enters into a romance with her manipulative boss
The Rowan, in which a young woman with beyond-human powers loses everything she cares about in the world, gets indentured to a corporation which provides her with wealth and status while simultaneously keeping her locked in endless responsibility and debt, and desperately seeks a life partner, eventually finding one in the guy who at the end of the book succeeds to the position held by her manipulative boss
Obviously all of these books have their own unique points of distinction:
The Ship Who Sang kicked off generations of what-if-a-girl-was-a-ship stories and also generations of disability-in-SF conversations; it is also IMO one of the most interesting of McCaffrey's structural experiments, being composed of short stories that do generally work well as short stories, while creating a coherent and connected character arc for Helva across the whole set. Also: women! Helva gets to partner with women! Does she want to partner with women? Absolutely not. She wants a hot guy, or, failing that, a weird little manipulative boss who's obsessed with her. But nonetheless while waiting for her inevitable manipulative bossmance she has some interesting women thrust upon her, which I appreciate even if she does not.
The Rowan is the latest, structurally the weakest, and I think perhaps generally the worst of these books ... Killashandra has a bad personality and it's charming, but the Rowan's bad personality mostly comes out in the context of being a bad boss within her devil's-bargain corporation, which is less charming. Also there's sort of a halfhearted attempt at an evil aliens are attacking plot but the evil aliens take up approximately ten (10) whole pages of the book because McCaffrey finds them much less interesting than the Rowan's boyfriend, who is of course destined for her because he's the only hot guy telepath who's more powerful than she is. Anyway, the funniest part about this book is the fact that the Rowan gets a telepathic cat in the first section, and because everyone loves a telepathic cat the telepathic cat is on the front cover of the book, but then Anne McCaffrey is like 'yeah but she left the telepathic cat on the spaceship the first time she left home, they weren't actually that tight' and the telepathic cat is never mentioned again.
Crystal Singer is notable for the fact that Killashandra -- in addition to being a failed opera singer who has to pivot to harvesting addictive crystal with the power of her voice -- is the meanest and most self-interested McCaffrey heroine and also the one who has the most casual sex. A real delight to go from Avril Bitra in Dragonsdawn to Killashandra, who has all of Avril Bitra's traits except she's protagonist-shaped so instead of performing sexy torturemurder and getting fired into the sun, she reluctantly saves the life of a guy who hates her, complaining about it all the way. God bless! Has the most opportunities not to enter into a devil's bargain with a corporation to become a protagonist, and also has arguably the worst devil's bargain of the lot (crystal singing rots your brain! creepy!) and so I think is in many ways central to the Corporate Devil's Bargain thesis of it all: the subtext of The Ship Who Sang and The Rowan is that yes, the devil's bargain Is worth it, but Crystal Singer holds it up defiantly and makes it text. Yes, you were probably manipulated into it, and yes, it's going to end in tragedy, but look how cool you are now!
This all also sort of makes me look a certain way at Lessa, the OG bad personality heroine herself, and her arc in Dragonflight. It's more obviously a devil's bargain when it's a Big Corporation and not a cool dragon that loves you unconditionally -- but what are all these sexy manipulative bosses, except proof that Big Corporation actually loves you unconditionally? And yes, you were manipulated into it. No, you can't leave now that you've done it. Yes, the institution takes away your agency, by design, but broadly speaking, it's a benevolent institution -- or at least, society can't do without it. Anyway, now that you're part of this institution, you are now the coolest person in the world; everyone needs you, admires you, loves you, and you're happier than you've ever been. Of course it was worth it!
The Ship Who Sang, in which a young woman gains beyond-human powers through being indentured to a corporation which provides her with wealth and status while simultaneously keeping her locked in endless responsibility and debt, loses the thing she cares about most in the world, and desperately seeks a life partner, eventually finding one in her manipulative boss
Crystal Singer, in which a young woman loses everything she cares about in the world, gains beyond-human powers through being indentured to a corporation which provides her with wealth and status while simultaneously keeping her locked in endless responsibility and debt, and, despite not seeking a life partner, nonetheless enters into a romance with her manipulative boss
The Rowan, in which a young woman with beyond-human powers loses everything she cares about in the world, gets indentured to a corporation which provides her with wealth and status while simultaneously keeping her locked in endless responsibility and debt, and desperately seeks a life partner, eventually finding one in the guy who at the end of the book succeeds to the position held by her manipulative boss
Obviously all of these books have their own unique points of distinction:
The Ship Who Sang kicked off generations of what-if-a-girl-was-a-ship stories and also generations of disability-in-SF conversations; it is also IMO one of the most interesting of McCaffrey's structural experiments, being composed of short stories that do generally work well as short stories, while creating a coherent and connected character arc for Helva across the whole set. Also: women! Helva gets to partner with women! Does she want to partner with women? Absolutely not. She wants a hot guy, or, failing that, a weird little manipulative boss who's obsessed with her. But nonetheless while waiting for her inevitable manipulative bossmance she has some interesting women thrust upon her, which I appreciate even if she does not.
The Rowan is the latest, structurally the weakest, and I think perhaps generally the worst of these books ... Killashandra has a bad personality and it's charming, but the Rowan's bad personality mostly comes out in the context of being a bad boss within her devil's-bargain corporation, which is less charming. Also there's sort of a halfhearted attempt at an evil aliens are attacking plot but the evil aliens take up approximately ten (10) whole pages of the book because McCaffrey finds them much less interesting than the Rowan's boyfriend, who is of course destined for her because he's the only hot guy telepath who's more powerful than she is. Anyway, the funniest part about this book is the fact that the Rowan gets a telepathic cat in the first section, and because everyone loves a telepathic cat the telepathic cat is on the front cover of the book, but then Anne McCaffrey is like 'yeah but she left the telepathic cat on the spaceship the first time she left home, they weren't actually that tight' and the telepathic cat is never mentioned again.
Crystal Singer is notable for the fact that Killashandra -- in addition to being a failed opera singer who has to pivot to harvesting addictive crystal with the power of her voice -- is the meanest and most self-interested McCaffrey heroine and also the one who has the most casual sex. A real delight to go from Avril Bitra in Dragonsdawn to Killashandra, who has all of Avril Bitra's traits except she's protagonist-shaped so instead of performing sexy torturemurder and getting fired into the sun, she reluctantly saves the life of a guy who hates her, complaining about it all the way. God bless! Has the most opportunities not to enter into a devil's bargain with a corporation to become a protagonist, and also has arguably the worst devil's bargain of the lot (crystal singing rots your brain! creepy!) and so I think is in many ways central to the Corporate Devil's Bargain thesis of it all: the subtext of The Ship Who Sang and The Rowan is that yes, the devil's bargain Is worth it, but Crystal Singer holds it up defiantly and makes it text. Yes, you were probably manipulated into it, and yes, it's going to end in tragedy, but look how cool you are now!
This all also sort of makes me look a certain way at Lessa, the OG bad personality heroine herself, and her arc in Dragonflight. It's more obviously a devil's bargain when it's a Big Corporation and not a cool dragon that loves you unconditionally -- but what are all these sexy manipulative bosses, except proof that Big Corporation actually loves you unconditionally? And yes, you were manipulated into it. No, you can't leave now that you've done it. Yes, the institution takes away your agency, by design, but broadly speaking, it's a benevolent institution -- or at least, society can't do without it. Anyway, now that you're part of this institution, you are now the coolest person in the world; everyone needs you, admires you, loves you, and you're happier than you've ever been. Of course it was worth it!
