skygiants: Cha Song Joo, from Capital Scandal, demonstrating all the fucks she gives (u mad)
So I read Diana Peterfreund's Across a Star-Swept Sea, which is the sequel to For Darkness Shows The Stars. The pres of For Darkness Shows the Stars was that's post-apocalyptic Persuasion, and when I read it last year I really enjoyed it!

I have more mixed feelings about Across a Star-Swept Sea, which is post-apocalyptic Scarlet Pimpernel retelling starring a female Percy Blakeney and which therefore should have been 110% up my alley.

Some of that is the setup, which I felt kind of weird about in For Darkness Shows the Stars, and I couldn't pinpoint or explain exactly why at the time so I ignored it; the best way I have to say it is that the design of the post-apocalyptic setup kind of flattens fairly complicated issues of neurodiversity. And even though Across the Star-Swept Sea is in some ways actually better and less flattening about that, the way it's used and made a plot point made me feel more uncomfortable. But that might be just me? I don't know! Anyway, I don't feel qualified to talk about that, although if anybody does want to talk about that I FULLY WELCOME you to, please, let's have that conversation!

Anyway what I do feel qualified to talk about is SCARLET PIMPERNEL AUS, so ... let's talk about that instead!

Scarlet Pimpernel AU stuff I really liked:
- the fact that Lady Percy Blakeney (okay, "Persis Blake") has a circle of female schoolfriends who correspond to the Prince of Wales and the members of the League. The Andrew Ffoulkes equivalent is named ANDRISSE. This is actually my favorite thing. Yes, please, leagues of women fighting evil together!
- the fact that Armand St. Just almost always acts fourteen anyway, so making him a fourteen-year-old girl is both perfect and ... results in that character actually being MORE competent and effective than in the original
- the fact that Dude Marguerite is just as overall useless at rescuing Percy as Original Marguerite is
- the fact that Lady Chauvelin is not in love with Dude Marguerite (which I was afraid of and would have been awful) but just really mad that her fake cousin/BFF ditched her AND THE REVOLUTION
- the fact that there is a scene in which Persis Blake makes up stupid rhymes. They are not, sadly, as stupid as in the original. Still, she makes up stupid rhymes, which I respect.
- the fact that no one is white
- the fact that there are a lot of descriptions of really over-the-top and elaborate fashion

Scarlet Pimpernel AU stuff I did not like:
- PERSIS BLAKE IS NOT HAVING ENOUGH FUN

Okay, here is the thing -- and, okay, a few posts back I called this type of character the Troll Hero, so let's keep going with that. The thing about the Troll Hero, and Percy Blakeney is kind of the epitome of the Troll Hero, is that the archetype involves a level of EXTREME self-confidence that hits the point of arrogance. Percy Blakeney can pull off his Scarlet Pimpernel masquerade because he genuinely does not care what other people think of him. He knows he's amazing. If everybody's laughing at him, that's even better! The ultimate joke is always on them, because he knows he's in control, and he can manipulate other people to do what he wants (you know, for the greater good). And he loves it. (Until Marguerite, and angst, etc., but this is the gist.)

Who writes women like that?

Who writes women who are so confident in themselves, who are so aware of the fact that they're smarter than everyone around them that it literally does not matter what the rest of the world thinks?

Who writes women who are laughing at everyone else around them all the time? Who are laughing at everyone else around them all the time, heroically?

Almost nobody writes women like that. People hate female characters like that. A woman who's confident enough to know she's smarter than other people? God, no! What a bitch!

Persis Blake does not have that level of rock-solid confidence. Persis Blake is afraid of her mask slipping; she's distressed at the lies she has to tell to the people around her; she's angry, she's frustrated, she's worried. And these are all completely reasonable reactions to have to her situation, but -- man, most of the time it seems like she's not having ANY fun.

Persis Blake is not at all a bad character, but ... guys, I just really want some more female troll heroes. I want them to know they're smarter than everyone around them, and to be right. I want them to be total jerks. I want them to have SO MUCH FUN.
skygiants: Princess Tutu, facing darkness with a green light in the distance (elizabeth book)
Last night I turned in my thesis draft as it currently stands! ("As it currently stands" involves several large [BRACKET] sections at the end, but.) I was supposed to have a meeting this morning, but it got cancelled because of the snow, so now I don't have anywhere to be until half past noon and IT'S LOVELY. Thank you, snow!

It also means that I actually have time to write up a book!

I knew about For Darkness Shows the Stars as "post-apocalyptic Persuasion," which made me super intrigued but also kind of wary. I mean, Persuasion is very much not an adventure story, and very much is a book about Regency social class, and how would you even do that . . .?

The answer, it turns out, is "worldbuilding!" I'm not going to provide you all the details of how Diana Peterfreund gets to something that approximates Regency class structure in such a way as to highlight the themes of Persuasion, because that's a lot of info-dumping and also I still don't know how I feel about some of it, but there were a couple things she did that I really liked:

- RESPONSIBILITY. You know how, in theory, estate ownership is supposed to be a model in which the owners earn their privilege by taking personal responsibility for the well-being of everyone on their estate? Of course our Anne Elliot equivalent (here called Elliot North) believes this, deeply, and acts in accordance with it. And then the model is problematized and called out by other people within the text, because obviously it's a problematic and paternalistic model -- but Elliot is a good person and a responsible person, and in her terms and her cultural worldview, this is what being a good person and a responsible person means. Peterfreund knows this doesn't really justify Elliot's privilege. But Elliot doesn't know that, because this is her culture. (In case this isn't clear: I really, really like Elliot.)

- SOCIAL CHANGE. The culture that Peterfreund sets up is a culture in flux, as all cultures are, eventually, in flux. And the protagonists are involved in that to a certain extent, but it's not like anybody's LEADING THE REVOLUTION here. They're pretty much just doing what they do, and dealing with their own problems, and their worldview shifts, and coping with how these changes affect them. And that's something I always want more of in science fiction -- cultures that aren't static, and the stories that happen within the context of that cultural change.


I mean, there were also some things I liked less -- someone remind me, was Wentworth such a dick to Anne in the early parts of Persuasion? Because Kai, the Wentworth-equivalent, is SUCH A DICK to Elliot in the early parts of this book -- and the ending is very have-your-cake-and-eat-it-too in a way that emotionally I'm fine with but intellectually I am a little dubious about given the rest of the themes of the book.

But overall I really, really liked it. Am I in for the sequel, which is reportedly based on a gender-swapped Scarlet Pimpernel? I'M SO IN!

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