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Category Archives: Steampunk Feminist
I read an article about Competent Sidekicks on Vox, and saw this table. I don’t completely agree with it, as Luke did blow up the Death Star, but Leia certainly gave him access to the Death Star plans and his torpedo-firing spaceship. But I do think this table makes a valid point; why do these competent women not get their share of the credit at the end of the day?
This cliche is as old as television. Look at 99 and Maxwell Smart. Smart was extremely lucky to be teamed up with Agent 99, as she did most of the thinking and the hard work while he got most of the credit. What made him survive was luck – not to be underrated, but it can’t be depended upon. Even in the modern reboot, Agent 99 has all the training and skills. Max and 99 are the extreme example of the trope, with Starlord and Gamora from Guardians of the Galaxy coming a close second.
This occurs quite a bit in literature too. So,how do I avoid this happening in my Steampunk novel.
Well, for starters, my protagonist is a competent woman. And – at the end of the story – she will be getting her credit and her reward. Yep. I finally figured out the reward that would make her happy … a free pass into Kew Gardens. For life. No restrictions. For a woman academic of the 1870s, that is like winning Olympic Gold.
So much more satisfying that marrying her off into a faux ‘happily ever after’.
When I was growing up, I wanted science-based toys and books, and I was very lucky to have supportive parents who gave me a chemistry set and a bug catcher (among other outstanding gifts) for my birthday and Christmas presents. Dolls didn’t appeal to me, as I preferred living creatures like babies, puppies, and kittens – I ended up studying zoology at university to obtain a Bachelor of Science. I often wonder if there were girls from earlier era felt the same way. This got me to thinking about suffragettes.
Suffragettes were a social and political phenomenon existing for over a century. Doll and toy makers would have to be tempted to capture the likeness of suffragettes in their items. Just a quick investigation turned up quite a few games and such. The suffragettes made a few dolls and games to sell at rallies to raise funds. Others were made by those politically against women’s suffrage, and were often less than flattering, if not downright scary (like the Jill-in-the-Box).
However, if I had been around in that era, I would have been purchasing suffragette toys for my daughters. Because you can aspire to be someone you know nothing about. What I like about these toys is that they show the women active and involved, not passive. Even if they hadn’t seen representing suffragettes, they showed women with agency.
Fainting and Swooning – the Degrees of Syncope in the Victorian Era; a Steampunk Feminist Perspective
Fainting and swooning were more prevalent in the Victorian era, to the point that they created a piece of furniture for use when feeling weak and dizzy. It was mostlywomen who fainted. There are many reasons behind this cultural phenomenon; I favour the tightness of corsets, the overabundance of clothes worn by women, and Patriarchal society’s expectation that women were ‘weak’ and easily overcome by strong emotions. So, fainting could be put down to both physical and cultural pressures.
The medical term for fainting is syncope. It is a short loss of consciousness. Just before a faint, symptoms may include feeling lightheaded, sweating and trembling, clammy and pale skin, blurred vision, among others symptoms. A true faint has a fast onset, a short duration, and spontaneous recovery. It is due to a sudden decrease in blood flow to the entire brain, usually caused by low blood pressure brought on by a physical or emotional shock. A person who has fainted needs to be checked out by a doctor, as a faint can be a sign of underlying medical problems.
In literature, there is a difference between a faint and a swoon. A faint is something that occurs when a person gets a terrible shock – a mother reading of the death of her child – or the person is suffering from blood loss – a wounded gentleman can faint and not seem unmanly. Women swoon. They see an old lover … and swoons. A rogue tries to make love to them … and they swoon. Their father asked them a hard question … and they swoon. A swoon seems to be more ‘convenient’.
A swoon involves fluttering eyelashes and an elegant collapse over a waiting arm or onto a couch. A true faint doesn’t allow for grace, the individual keels over and if they are lucky there is someone to catch them. I swoon online quite frequently … I don’t faint.
In most Victorian era novels, there are faints and swoons. It is gender specific. Fainting women outnumber fainting men by twenty to one, if not more. I could not find ONE Victorian era image of a fainting man. The best I could do was a still from a silent film.
In my current Steampunk work-in-progress, I have no one fainting or swooning. It isn’t that none of my characters have shocks. It is just that I feel that swooning contributes to a stereotype. The women and men in my novel are too busy to have the time to faint. However, they are overcome with chloroform once or twice. Does that count?