Dauntless Women's Contribution to District Twelve

Mag.a phil. Jennifer-Raphaela Krassnitzer, BA BA MA

Dauntless Women’s Contribution to District Twelve

Representations of Female Characters and Feminism in Contemporary Young Adult Dystopian Fiction

Dissertation

submitted in fulfilment of the requirements for the degree of

Doktorin der Philosophie

Alpen-Adria-Universität Klagenfurt

Fakultät für Kulturwissenschaften

Mentor Univ.-Prof. Dr. Jörg Helbig M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik

1st Evaluator Univ.-Prof. Dr. Jörg Helbig M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik

2nd Evaluator Ao.Univ.-Prof. Dr. Hanna Wallinger Universität Salzburg Anglistik und Amerikanistik

Klagenfurt, April/2017

Affidavit

I hereby declare in lieu of an oath that - the submitted academic paper is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the paper, including any significant advice from supervisors, - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this paper to an examining authority either in Austria or abroad and that - the digital version of the paper submitted for the purpose of plagiarism assessment is fully consistent with the printed version.

I am aware that a declaration contrary to the facts will have legal consequences.

Klagenfurt, April 22nd 2017

(Signature) (Place, date)

Acknowledgements

At this point I want to thank my family, particularly my mom and grandma for their support and guidance, something I would not want to miss in my life. Thank you for always believing in me.

I also want to express my gratitude to each and every one who inspired, motivated and supported me.

“Cultivate the habit of being grateful for every good thing that comes to you, and to give thanks continuously. And because all things have contributed to your advancement, you should include all things in your gratitude.”

Ralph Waldo Emerson

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Contents

Acknowledgements iii

Preface vii

1. Introduction 1

I. Theoretical Background

2. Dystopia 6

2.1. Terminology and Application in Literature 6

2.2. Characteristics of Dystopian Fiction 8

2.3. Adult Dystopian Fiction 13

2.4. Female Characters in Adult Dystopia 15

2.5. Young Adult Dystopian Fiction 18

2.6. Subgenres in Young Adult Dystopian Fiction 22

2.7. Young Adult Dystopian Fiction in Public Perception 26

3. Young Adult Literature 28

3.1. Development of a Genre 28

3.2. Characteristics of Young Adult Fiction 30

4. Feminism and Women’s Rights Movements 33

4.1. The Development of Feminism and The Different Phases in its Movement 33

4.2. Meaning in Contemporary Perception 36

4.3. Inclusion and Significance in Literature 38

5. Feminist Literary Analysis and Criticism 40

5.1. Establishment and Development 40

5.2. Methods and Characteristics 42

5.3. Intersectionality 44

II. The Portrayal of Women in Contemporary Young Adult Dystopia

6. Legend Trilogy 44

7. The Testing Trilogy 55

8. Matched Trilogy 61

9. Delirium Trilogy 67

10. Starting Points and Methods of Portrayal 75

11. Character Development and Endings 78

III. Case Study: Katniss, Beatrice & America in Charge of the Future

12. The Hunger Games 84

12.1. Physical Appearance 84

12.2. Relationship Structures 95

12.3. Emotional and Mental Description 105

12.4. Social Role in the Fictional World 109

12.5. Character Development 113

12.6. Female Supporting Characters 115

13. Divergent 118

13.1. Physical Appearance 119

13.2. Relationship Structures 122

13.3. Emotional and Mental Description 125

13.4. Social Role in the Fictional World 130

13.5. Character Development 132

13.6. Female Supporting Characters 137

14. The Selection 141

14.1. Physical Appearance 141

14.2. Relationship Structures 146

14.3. Emotional and Mental Description 151

14.4. Social Role in the Fictional World 155

14.5. Character Development 158

14.6. Female Supporting Characters 162

15. Portrayal of Female Characters in the Novels 172

15.1. The Hunger Games 172

15.2. Divergent 176

15.3. The Selection 180

15.4. Similarities and Differences 184

15.5. Intersectionality and Feminist Approaches in the Novels 188

16. Results 191

Bibliography 194

Preface

There are two major reasons that affected my decision to write about young adult fiction.

The first is related to the literary genre and its contents. While this is certainly not a fixed rule, a fairly high percentage of contemporary literature dedicated to an adolescent or young adult audience integrates characters of diverse backgrounds. Such characters are not only mentioned for the sake of inclusion but often placed in the center of attention. Powerful roles, thought-provoking world views and emotional personal stories are shared through the voice of fictional persons who represent a change in prevailing societal perceptions. Several publications in this particular branch of literature embrace difference in terms of race, ethnicity, sexual orientation, body and beauty ideals as well as gender and gender-based role distribution. Each of these factors contributes to a change in common and stereotypical portrayals of minority groups, particularly concerning racial background and sexual orientation, in literature and could also cause an alteration in society’s approach towards them.

The second reason relates to the possible effect these novels can have on the general perception of people and groups of people described in them. Due to the young age of the average target group, new values and perspectives can be conveyed and used as a basis for interpersonal relationships in the readers, in society’s, daily life. Since literature is a mass medium in power of changing a person’s attitude towards certain aspects of life, this assumption seems plausible. Hence, the content and ideas woven into books with a considerably broad audience are significant.

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These two factors contribute to the interest I take in the genre and its variations. The specific focus on dystopian young adult literature, as discussed in this dissertation, evolved out of the omnipresence of this subgenre within the context of young adult fiction. In addition to its strong presence, the role reversal initiated through young adult dystopia relates to the inclusion of different literary characters in contemporary literature for adolescents within the frame of typically male dominated environments. Since the depiction of male power structures has a longer history in dystopian literature and is frequently associated with the physical and emotional strength necessary in the face of destruction and endangerment, the empowering of female characters symbolizes a breach in stereotypical gender perceptions and biases. Hence, this variation of dystopian novels, closely tied to modernized methods of depiction as applied in the majority of contemporary young adult fiction, is an important factor in the inclusion of both intersectional feminist thought as well as a step towards the abolishment of predestined gender roles.

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“A feminist is anyone who recognizes the equality and full humanity of women and men.” Gloria Steinem

“You must give everything to make your life as beautiful as the dreams that dance in your imagination.” Roman Payne

“I am a woman, Phenomenally. Phenomenal Woman, That’s me.” Maya Angelou

1. Introduction

Young adult fiction as a genre features a high percentage of female characters, however, its dystopian subdivision tends to approach their representation differently as it frequently assigns heroic roles to women and adolescent girls in apocalyptic scenarios. Based on the increasing popularity of dystopian young adult fiction, the depiction of femininity in the respective novels reaches a considerably broad audience and, thereby, establishes a certain image of women’s positions in a societal context. Contrary to classic dystopian literature, which is mostly aimed at a mature readership, its young adult variation entrusts the female gender with power, strength and influence on the story’s ending. In addition to the altered perception of the female scope of action, elements of contemporary and traditional feminism contribute to the portrayal of women and their function in the fictional worlds. The deconstruction of involved aspects and detailed analysis of their impact on the description of female literary characters in this branch of fiction, according to the integration of feminist approaches, serve the aim of this dissertation, which is the exploration and decoding of prevailing patterns applied to young adult dystopia regarding the depiction of the female gender. Hence, the purpose of this research is to prove the representation of empowered femininity in the genre of contemporary dystopian young adult fiction as well as its still present connection to normative gender-based role distribution.

Due to the focus on modern images of women, characterized by physical and mental strength, intellectual ability, active participation, self-confidence and determination, contemporary works published as young adult dystopias are explored. Next to well-known examples, which increased their global popularity through movie adaptations, book series released without major public attention build the basis for this analysis. While the case study,

1 and therefore the closest attention, is dedicated to three book cycles that are regarded with considerable public interest, in the second section of the dissertation, additional examples are examined in order to create a broader picture of factors and characteristics attributed to the portrayal of female literary figures in this particular subgenre. The novels in section three are chosen for close reading on the basis of the broad audience they have reached and the created platform the included representation of women is distributed through, seeking its way into public consciousness. Hence, Suzanne Collins’ The Hunger Games (2008-2010), Veronica

Roth’s Divergent (2011-2013), and Kiera Cass’ The Selection (2012-2016) are analyzed in closer detail. The second section features Legend (2011-2013) by Marie Lu, Delirium (2011-

2013) by Lauren Oliver, The Testing (2013-2014) by Joelle Charbonneau and Matched (2010-

2012) by Ally Condie. In addition to the varying degree of popularity this selection includes different subgenres within dystopian young adult fiction. Hence, social, political, educational, monarchical, historical, military and science fiction dystopias are drawn as examples to investigate the construction of female identity and representation as well as the aspects of feminist ideas and beliefs woven into it. Furthermore, the audiences reached by the well- known publications are exposed to the influence of their form of female depiction. As all of the analyzed books were released between 2008 and 2016, they are considered as works of contemporary fiction and therefore approach a broader target group of adolescents and young adults. Hence, the image of femininity and gender conveyed in the chosen works of fiction can impact society’s changing perception of women and the construction of the societal female gender, which represents an additional reason for the selection of these specific novels.

While previous research has been done on recently published young adult literature, dystopian fiction and the forms of female characters’ portrayal in the respective genre, the combination of all three aspects as well as the focus on the novels examined in this dissertation have yet to be discussed more specifically.

Although certain trilogies such as The Hunger Games by Suzanne Collins are subject of several research areas, the detailed analysis and comparison with other, also less popular examples of the genre is not as present. Along with this, the correlation with current feminist ideas and the involvement of such in the construction of female characters in contemporary works of dystopian young adult fiction presents a gap in the otherwise existing research fields.

The methodological approach to the exploration of this field lies within literary analysis, focusing on the construction of female identity in the novels. Since the selected examples are considered through a feminist lens, feminist literary criticism plays a significant role.

Furthermore, inclusive aspects and diverse representations are filtered in order to display the integration of social, racial and sexual backgrounds contradicting normative societal standards. Therefore, intersectionality theory is also applied in the course of the examination.

Due to the increasing significance of inclusive and diversity literature in contemporary young adult fiction and its character descriptions, the application of intersectionality theory as part of current feminism and feminist analysis directly refers to the integration of non-normative patterns. This is a crucial aspect in this examination as it correlates with this research’s focus on identifying and decoding female representations in power distribution, relationship structures, appearance and racial background, which commonly describe key issues of intersectional observations.

In terms of theoretical basis, the first section, which contains four separate chapters, provides specific background knowledge relevant in the method used to decipher the elements of emancipation and power distribution among female characters in the novels. Additionally, the particular genres, namely classic dystopian fiction and young adult literature are briefly described to give insights into common and distinguishing factors and characteristics. The second section covers the paradigmatic analysis of four different trilogies defined as young adult dystopia in order to extract frequent patterns of female depiction prior to the discussion

3 of globally popular representations of the genre. Following this, the third section includes the case study, which explores three book series in the detailed areas of physical appearance, relationships, emotional and mental description, the protagonist’s role in the fictional worlds, character development and the portrayal of supporting female characters. Subsequent to this, the findings are presented and set into relation to each other. Based on this examination, the inclusion of feminist elements along with the tendency to depict women in dystopian young adult fiction as strong and emancipated leading figures who advance to heroic icons, but widely correspond with normative body images as well as racial and sexual standards can be stated.

“When I was a child, when I was an adolescent, books saved me from despair: that convinced me that culture was the highest of values.” Simone de Beauvoir

I. Theoretical Background

2. Dystopia 2.1. Terminology and Application in Literature

The expression ‘dystopia’ is explained in different variations ranging from its definition based on the comparison with its literary and ideologic counterpart to the association with apocalyptic scenarios and world views. One of the most common explanations roots in the emphasis on an essential feature of dystopian works in literature, film and popular culture in general. According to this, the inclusion of post-war situations, threatening apocalypses, oppressive social and political systems and environments and devastation of any kind is one of the best-known and widespread definitions of the term dystopia. Along with this, the reference to the expression ‘utopia’, which is the pendant of dystopian contents is frequently adapted as a definition using the existing differences as a means of characterization. In contrast to utopian depiction, dystopian does not establish idealized versions of reality:

[I]nstead, the dystopia often functions as a rhetorical reductio ad absurdum of a utopian philosophy, extending a utopia to its most extreme ends in order to caution against the destructive politics and culture of the author’s present. It generally differs from the utopia in that its prescription is negative, rather than positive: it tells us not how to build a better world, but how to perhaps avoid continuing to mess up the one we’ve got. (Basu et al., 2013: 2) Although the dystopian genre is often defined for its specific features and aspects, it is also linked to science fiction. Furthermore, it is seen as a subgenre or category of science fiction in many examples in literature and film rather than a standalone genre. Hence, definitions of dystopian contents tend to ascribe it as part of another genre and thereby reduce its effects and position in literature, film and culture where it is applied. The common ground these definitions share is the heavy involvement of destruction and war-related aspects in stories categorized as and influenced by dystopian elements.

The application of the genre in literature can be divided according to chronology and content, as a considerably broad variety of inclusions has developed between the 20th and 21st century, which is regarded as its most flourishing time:

Dystopia, utopia’s devilish generic sibling and antonym, is predominantly a modern literary phenomenon of the twentieth century. Although utopia and dystopia share a discontentment with the present, their approaches are diametrically different. (Mohr, 2005: 27) In terms of the content-related distinctions within the dystopian branch of literature, the most significant factor is the separation of adult and young adult fiction. While the majority of classic works is referred to as adult dystopia, the increasing popularity ascribed to the genre is mainly aimed at contemporary young adult novels published in this category dating from the beginning of the 21st century. Although the detailed separation between subgenres is applicable to both, the distinguishing became more important and broader with the flourishment caused by its variations targeted at a younger audience. The most common subdivisions in dystopian literature, both adult and young adult, are based on the respective novels’ focus. Political, social, environmental and science fiction dystopia are hereby essential examples. Based on the undesirable worldviews depicted in dystopian literature, the close relation to politics is omnipresent in the genre, regardless of the key focus:

Originally, the philosophical and political meaning of utopia was not only aligned with a more positive, though equally unattainable connotation – denoting a vision of an ideal, a “perfect” society, whereas utopia’s alter ego dystopia connotes a much worse, bad society – but could also be pinpointed in a definite realm: that of literature and politics. (Mohr, 2005: 12) While political and social dystopia are the most significant representatives of the genre, elements of science fiction and environmental catastrophes are frequently woven into the storylines and therefore combine more than one subgenre. Each of these categories share a common ground in terms of typical characteristics used in dystopian fiction but also feature individual traits.

2.2. Characteristics of Dystopian Fiction

The most significant aspect in dystopian literature is the apocalyptic scenarios that are either present from the beginning or eventually introduced in the course of the story. While the reasons for the described destruction and threats in the fictional worlds vary according to the direction the respective novel focuses on, the tools and methods are consistent with a specific pattern frequently applied in the genre. The most common dangers appearing in this category are the extinction of a certain civilization or country as well as recurring attacks on the protagonists who generally fight against the oppressive systems constructed in their regions.

Due to this, “their description of societies where human volition has been superseded or eroded by an authoritative imposition of control from outside – from the leader, party, alien race and so on”, is a recurring theme (Cleays in Vieira, 2013: 17). Gregory Cleays further defines this matter in “Three Variants on the Concept of Dystopia” in regards of the fictional population as following:

In this sense dystopia is antithetical to the idea of popular control, or democracy, in particular. The mass have lost control over even the most rudimentary aspects of their own destinies; they are putty in the hands of fate. […] if utopia embodies ordered freedom, dystopia embodies unfreedom and exposure to the constantly capricious rule of a supremely powerful force, which may be human, natural, superhuman or utterly artificial. (Cleays in Vieira, 2013: 17) Furthermore, the subgenre to which a dystopian work of fiction is allocated impacts the inclusion of characteristics associated with this branch of literature.

Dystopian novels, regardless of their subdivisions, frequently start with a description of the social environment and the living circumstances affecting the introduced main character.

While the area they live in might not be visibly endangered by destruction, other regions as known and shared by the voice of narration used in the story can be. Moreover, a fragment of

8 the historical incidents that shape the fictional worlds is always present in the collective mind of the depicted civilization. Therefore, knowledge of civil and world wars, attacks, natural catastrophes or failed political systems is mostly present from the first chapters. Nevertheless, the truth about the protagonists’ direct environments and home towns is mostly not fully revealed until the end of the story. Aside from this, the descriptions of the political and social demands and convictions predominating the portrayed society intensify in the course of the story due to their initial reduction of reliable information. Despite the displayed functioning of the systems involved in the countries and civilizations appearing in the books, flaws are soon discovered by the main characters, often a short period of time before attacks are planned or the façades established for public display collapse. Although classic works of dystopian fiction such as George Orwell’s 1984 and Margaret Atwood’s The Handmaid’s Tale immediately engage in the depiction of the restrictive and oppressing worlds their protagonists live in, the eventual deconstruction of all aspects connected to them reveals further knowledge of and insights into the core, reason and fall of the systems. Contemporary young adult dystopia often chooses to give only fractions of the construct which leads to slow defragmentation and description of the chosen dystopian environment. However, both distinctions in the genre focus on the collapsing of a political and social system characterized by oppression, limitation and often surveillance which ultimately does not only endanger the protagonists but the entire civilization which is operated by the officials and authorities working in affected governments and institutions:

[D]ystopia reverses, mistrusts, and parodies the ideal of a perfectly regulated utopian state, often unintentionally inclined towards totalitarianism. Where utopia uplifts the reader, dystopia holds up a hellish mirror and describes the worst of all possible futures. Although both utopian and dystopian imaginings of the future refer readers to the present and seek to implant a desire for societal transformation, they evoke different effects: the utopian defamiliarization takes the avenue of arousing readers’ desire for utopia, whilst the defamiliarized dystopian society appeals readers. Where utopia compares social vision and reality by creating difference, dystopia presupposes and thrives on the correlation and similarity of the present social order under the near-future scenario. Using opposed strategies, both utopia and dystopia, however, share the same objective:

sociopolitical change by means of the aesthetic representation of a paradigm change. (Mohr, 2005: 27, 28) Hence, one of dystopian literature’s trademarks is the systematic description of apocalyptic living circumstances and omnipresent dangers with each progressing chapter.

Besides the eventual depiction of the true conditions prevailing in the fictional characters’ worlds, the presence of death, destruction and constant endangerment is thematized in books that belong to the dystopian genre. In addition to the collapsing societies created in these texts, the personal threats, often resulting in personal loss, play a characteristic role. Based on this, the protagonists, regardless of their gender, are frequently portrayed worrying about their families, close friends and partners. Furthermore, their functions in the stories contribute to the increased dangers the affected persons are exposed to. This common pattern indicates the application of collective punishment as a tool of restriction and reprise. Hence, the methods used to silence rebel forces and rising revolutions, mostly initiated, joined and led by the main characters, are similar within the literary genre which marks them as a shared trait and recognizable factor typically associated with dystopia.

In addition to the omnipresence of destruction, death threats and loss, dystopian fiction tends to portray its protagonists, regardless of their gender, in similar ways as far as their character development connected to their roles in fictional societies is concerned. Although the difference between adult and young adult dystopia is also noticeable here, the core aspect remains the same. When the protagonists are introduced to the reader at the beginning of the story, they are usually depicted as average citizens without neither the strong desire nor the possibilities to change the social and political systems under which they live. In the course of the following chapters, these characters are eventually admitted or forced to join rebelling groups after realizing the danger and oppression they live with on a regular basis. Along with the turns of events described in the following processes that mainly serve the conveyance of

10 detailed explanations related to the dystopian environments as well as the fictional figures’ assimilation into new surroundings and social groups or the preparations of strategies and plans to prevent a threatening catastrophe, the confrontation between good and evil is initiated. Therefore, the beginnings chosen in dystopian fiction frequently resemble each other in their character portrayal as well as their developing descriptions of the respective figures, once the apocalyptic living circumstances they are exposed to are revealed.

While the endings described in dystopian novels cannot be categorized as a common ground in the genre’s characteristics, one of its typical features is connected to the structure of the last scenes in the texts. The threatening apocalypses created in the course of the story eventually result in the collapse of the social and political systems predominantly applied in the fictional worlds. Although the protagonists’ fates are not always similar to each other, which means there is no similarity in the individual’s ending, the depiction of the dangerous and life- threatening habits, rules and laws mostly leads to its destruction within the last chapters. Since the main characters contribute to the downfall of harming ideologies prevailing in their societies, they usually play a significant role until the end of the book. Nevertheless, their individual functions differ from the position of a savior and fighter who survives the common clash of good and bad forces with active participation to a martyr who sacrifices his or her own life in order to save a greater majority, mostly consisting of innocent citizens who are often unaware of the powerful sources behind and original reasons for the unrests. In contrast to this, the reactions to the revelations of oppression and endangerment are the same in most examples in this particular literary genre.

Since the societies portrayed in dystopian novels are mainly oblivious to the developments which are being facilitated inside or outside of their civilization, one of the most common shared traits in the genre is their reaction triggered by the discovery of the true purposes behind their governments and regulations. Although the main focus is always set on the

11 protagonists, the formation of rebelling groups and fragmentations being initiated from inside these forces in order to fight for individual beliefs and benefits, is also woven into the storylines. Furthermore, the creation of rebel groups frequently contributes to the successful achievement of aims aspired by the main characters. Hence, the assistance of civil forces wishing to end violence, betrayal, oppression, unnecessary and brutal repercussions or irrational surveillance preventing every aspect of an individual’s privacy is an essential factor in dystopian literature which is included to a considerably broad extent.

In addition to the frequent appearance of rebel groups as well as the protagonists’ participation in them, the motivations the main characters share to actively engage in the fight against injustice, oppressive social and political systems and violence roots in the same reasons. Moreover, the common interest in the conquest of the dystopian environments develops with the progressing story and is extended to include purposes different from the initial passion and dedication signaled by the respective fictional figures. In the beginning of the novel and in the course of the revelations regarding the social and political flaws and dangers dominating the protagonist’s living circumstances and surroundings, the most significant force behind their enhancement of and participation in resistances is the desire to safe themselves and their loved ones, most frequently including family members and close friends, from the approaching wars, battles or different catastrophes. Following this stage, the persons in question eventually realize the full extent of the threats they face. Furthermore, they gain consciousness of the position they either already withhold or are about to claim and the affect it can have on their home towns or countries. Along with their functions in the rebel groups, the violence and oppression they increasingly witness leads to the alteration of their initial aspirations. Although the intention to safe family and friends from physical and emotional harm remains, it is broadened by the goal to prevent the majority of a civilization

12 from being killed or enslaved on one hand, to free them from already existing suppression on the other hand.

2.3. Adult Dystopian Fiction

In comparison to young adult dystopian literature, its counterpart dedicated to a mature audience distinguishes itself in several aspects. Aside from the different target groups, some of the genre’s characteristics are heavily applied in one and avoided in the other. In addition to the differing features and traits appearing in the texts, their classification in the general literary perception separates the two variations of dystopian fiction. While young adult dystopia is a relatively new branch, novels aiming at older readers have a longer publication history. Based on the considerably strong position they hold within the literary canon, also influenced by their early acceptance into it, a broad range of adult dystopian books are considered classic works of fiction. Therefore, adult dystopia is often referred to as classic dystopia.

Despite the common ground both variations share in terms of the most essential characteristics of the genre, dystopia written for older and mature readers includes some features mainly associated with it and not as frequently or strongly applied in young adult fiction. One of the most significant markers is the aspect of age also connected to the general portrayal of the novels’ protagonists. The majority of leading characters in stories categorized as adult dystopia are in their thirties or older as they have a lot of living experience and are frequently aware of historic incidents that happened before the establishment of the political and social systems they are currently forced to live in. Hence, they are not as oblivious to the

13 negative changes and developments within their communities as younger characters might be.

Although there are protagonists who have not personally witnessed the restructuring of their civilizations, they are more sensitive to the extraction of rights and the alteration of living standards and commodities. For instance, the main character depicted in George Orwell’s

1984 questions the environment he lives in from the beginning of the novel and furthermore informs the reader about the extent of the surveillance he is exposed to as well as his critical stand towards these procedures.

In addition to the advanced and mature age of the main characters as well as their awareness of existing flaws in the systems under which they live, a range of aspects present and influencing in young adult dystopia is omitted. The majority of these factors is related to the element of age as they are inseparably linked to the portrayal of teenagers and young adults.

Based on this, the protagonists in classic adult dystopian fiction do not attend any educational institution such as high schools, colleges or universities. Their educational stages are either not directly mentioned in the stories or already completed. With this the communication and regular interaction with other characters at their age is skipped and often substituted with colleagues at work or political groups. Furthermore, the connection to neither nuclear nor extended family is frequently woven into the plot as the main characters tend to be portrayed as individuals without serious personal and close ties. While sometimes the lack of parents is explained with their advanced age or certain historical events and catastrophes, the reference to family members can also be entirely left out. Another topic connected to a younger age and therefore not thematized in adult dystopia is self-discovery and the related process of self- identification. While teenagers are mostly depicted in association with strong character and identity development processes, adult protagonists are expected to have undergone such phases prior to the novels’ take on their living situations and personalities. Moreover, this already completed process initiated in a person’s youth frequently includes the issues of love

14 and relationships. While most main characters are depicted as single individuals at first, it is assumed that they have experienced their first love and relationships in the past, if not exclusively stated otherwise. This presumption is sometimes proven in the course of the story as the characters recount their lives or remember persons they have lost. Hence, as an example, the protagonist in Margaret Atwood’s The Handmaid’s Tale eventually lets the reader in on the secrets regarding her lost family. On one hand, this clarifies that the mature characters in adult dystopian literature have led lives and experienced relationship structures prior to their depiction in the novels. On the other hand, it also indicates that the construct of families is not highly valued in these texts and is often sacrificed by the evolving oppressive social standards and politics introduced in the respective civilization. However, such situations are not as commonly included, amongst other factors, due to the traditional association of family life with female characters and the scarce integration of them in leading positions within this category of dystopian fiction.

2.4. Female Characters in Adult Dystopian Fiction

One of the most essential aspects in classic adult dystopian literature is the role distribution in its novels based on gender. Although women are allocated to certain roles in the majority of texts placed in this category, they are infrequently consigned leading positions coined by power, influence or the voice of narration. Since male characters mostly occupy such roles, female ones are either reduced to supporting acts or rarely mentioned in connection with the progressing story at all.

The option of avoiding any meaningful association with women in classic adult dystopia is frequently applied due to the emphasis of masculine power structures, prevailing not only in the oppressive social and political systems established in the respective civilization. It is also based on the reconnection with typical gender-related perceptions dominating society’s collective perspective of masculinity and femininity as well as the attributions linked to these terms. Since men are displayed as strong, powerful and soldier figures characterized through physical skills and the privilege to invest aggressive, male behavior in fighting in stereotypical portrayals, women are supposed to embody the direct opposites. Hence, the female gender is often viewed as not qualified and entitled to a leading role in an environment shaped by death and destruction. In this matter, the classic dystopian genre in literature is heavily characterized and coined by male power structures which also influence the role distribution in its novels.

The functions admitted to women are mainly restricted to coworkers, widely undescribed citizens or participants in dystopian movements and governments or love interests of male protagonists. Since relationships are depicted but hardly part of a significant turn of events, the female characters appearing in the novels serve the purpose of complementation rather than individual achievement and contribution. Although they are portrayed, their emotional states and voices are subordinated to the general conveyance of the story’s progress and the detailed description of the male main characters and their perspectives. Mary Elizabeth Theis refers to the integration of women’s roles connected to the representation of family structures in Mothers and Masters in Contemporary Utopian and Dystopian Literature:

Most utopias and dystopias written by men during the last two centuries, retain the nuclear or extended family, but are usually preoccupied with its ideological relationship to an economic structure rather than with the relationships within the family. Women were drawn to these genres primarily toward the end of the nineteenth century. (Theis, 2009: 3)

Nevertheless, the appearance of female figures in adult dystopia is not exclusively limited to supportive roles in certain cases despite the rareness of this type of portrayal:

Eventually, the attempts to ignore the strains upon women […] or to submerge women’s issues to seemingly permanent secondary status brought Charlotte Perkins Gilman and others to contribute alternatives to their male-dominated works. (Theis, 2009: 3) Furthermore, authors such as Octavia Butler and Margaret Atwood, although often focusing on science fiction elements, put a strong emphasis on female protagonists and the female voice in classic adult dystopian fiction. Despite the fact that their books represent an exception to the unspoken rule of using male leading characters in this type of literature, they are commonly referred to as classic works in this genre. Triggered by this wave, feminism in the genre of dystopia and science fiction are set into relation with feminist theory:

Feminists in particular recognize the political implications of the genre and increasingly employ science fiction narratives to explore social relations. […] Both science fiction texts and feminist theories conceptualize issues of difference, globalization, and technoscience that increasingly affect women’s lives, and both are concerned with contested boundaries and definitions of bodies and cultural/social territories. (Melzer, 2006: 5) These women-centered works in adult dystopia focus, among other aspects, on the female voice of narration. In addition to this, most works including female leading figures are written by women and frequently weave aspects of feminism and emancipation in the descriptions of oppressive living circumstances. While this is typically not included in the majority of classic dystopian fiction, the representation of femininity and women in powerful positions and roles essential to the improvement of a society and civilization is a common part in contemporary young adult dystopia.

2.5. Young Adult Dystopian Fiction

The genre of young adult dystopian literature has consistently flourished since the beginning of the 21st century, particularly around the late 2000s and after the publication of Suzanne

Collin’s The Hunger Games. The main target group is centered among teenagers and young adults as categorized by the American Library Association as readers between the age of twelve and eighteen, sometimes also including new adult fiction which ranges from age eighteen to the mid-twenties or thirty (see www.ala.org). While the most significant indication for the popularity of this particular genre is the broad range of publications, the public attention paid towards it as in the demand of movie adaptations and merchandising highlight the effect it has. The key theme of apocalyptic world prospects remains the same in each of the existent dystopian texts but the interpretations vary:

[M]ore recent examples, especially for young people, are expressively concerned with how to use this warning to create new possibilities for utopian hope within in the space of the text. The dystopian worlds are bleak not because they are meant to stand as mere cautionary tales, but because they are designed to display – in sharp relief – the possibility of utopian change even in the darkest circumstances. (Basu et al., 2013: 2) Although the young adult variation of adult dystopian fiction shares several characteristics with classic texts, there are specific details and perspectives woven into the respective publications that are unique to this literary branch.

The most visible and important aspect to the story is the protagonist’s age and the characteristic features connected to it. Based on the inclusion of teenagers as leading figures, the social environment created around them is aimed to resemble those of young adults and youths who attend high schools, colleges, universities and face restructurings as new life phases are initiated. Due to their young age, the additional characters embodying friends and colleagues share a common ground as they are mostly the same age or a few years older.

Although there are other approaches, the majority of examples in young adult dystopian fiction chooses to introduce their protagonists around the age of sixteen. With this, several changes in the fictional characters’ lives are triggered such as initiation phases, the obligation to take life-altering decisions that cannot be reversed or the predated undergoing of certain surgical procedures prescribed to prevent a civilization from breaking free of the suppression prevailing in the fictional world. Hence, this age is given the connotation of irreversible change and the adaptation of new directions and purposes in life. While the majority of protagonists attempt to assimilate to the rules and their new lives in the beginning of the stories, they soon reach the point of realization that prevents them from continuing to follow the predestined paths. In addition to radical changes and rebuilding phases the young characters are supposed to live through in the course of the stories, their age plays an important role in regards to their experience with social and political systems as well as historical developments and events that influenced the establishment of the status quo:

As we seek to articulate a definition of utopian and dystopian writing for children and young adults, it is important to acknowledge the “dual focus” of this literature. […] Children’s literature specializes in […] writing on two levels for two different audiences, adult and child […]. Combined with children’s and young adult literature, it can be a powerful teaching tool. (Hintz, 2003: 7) As most of young adult dystopia’s main characters are still expected to attend school or are in the process of finishing it when the stories are told, the educational factor plays a slightly altered but still essential role in the novels. Due to the description of their education whether still involved in the respective institutions or already received everything regarded as mandatory, the half-knowledge of historical incidents and connections to their current governmental systems and social segregations is corrected and broadened as they are informed about the truths that are mainly excluded from officially approved education.

Another characteristic aspect in young adult dystopia is the portrayal of family constructs and the mostly active inclusion of family members in the stories, which in some cases also highlights their meaning to further progress. Although each of the teenage protagonists is depicted as member of a family which is still alive in the beginning of the novel, the featured structures are similar in their construction. In the majority of young adult dystopian fiction, the described families constitute the image of nuclear rather than extended ones. Therefore, the most important figures are the main character’s parents and, if existent, their siblings. In general, the picture created of family life in this genre is a rather homogenous one as both genders are commonly represented as siblings as well as the fact that nuclear families frequently consist of more than two children. Furthermore, the traditional image of family life is represented in the novels measured on the gender-related role distribution that ascribes the position of the fictional characters’ parents to heterosexual couples. Hence, the traditional image outweighs the modernized portrayal of society and social values in the majority of young adult dystopian literature.

Although several authors and publishers focusing on young adult dystopia prefer standalone volumes without sequels, the currently dominating format provides its readers with more than one book. While one of the most popular variations is the publication of a trilogy, a considerable number of fiction associated with this genre consists of two or more than three installments. For instance, in contrast to Suzanne Collin’s The Hunger Games trilogy, Keira

Cass’ The Selection series contains five main novels and one print edition including additional stories and chapters. Nevertheless, a characteristic trait in this genre is the tendency to present the respective stories in the form of trilogies rather than single volumes.

Along with these features, novels sorted in this category tend to include a strong female component in terms of effectiveness and powerful significance to the story. Although several examples of young adult dystopian fiction are written by men and present male protagonists, a

20 considerable number of works is published by women who choose female main characters to lead through the books. Such characters are mostly entrusted with responsibility, several developmental processes and an indisputable importance to the fate of their country or community. While their position in the story is indispensable, they frequently have to undergo inner changes in order to be self-confident enough to take on their tasks:

[T]he female protagonist of contemporary young adult dystopias occupy liminal spaces as they seek to understand their places in the world, to claim their identities, and to live their lives on their own terms. Further, and perhaps most significantly, these young women also attempt to recreate the worlds in which they live, making their societies more egalitarian, more progressive, and, ultimately, more free. (Day, 2014: 3) Although many female protagonists in this genre are portrayed in possession of a high self- esteem and mental and emotional strength as well as extravagant physical abilities, the focus on their innermost feelings and self-doubts followed by the necessary self-assurance remains an omnipresent factor in the plot. Nonetheless, the altered role distribution, particularly regarding leading positions within the fictional worlds, changes the image of dystopian fiction, despite the current limitation to young adult literature. The increasing inclusion of female main characters in these texts breaks with the established norm of a masculine dominated literary genre and therefore sets new examples in terms of gender equality as represented in popular culture:

By presenting young women as agents of change, novels […] draw on the seemingly contradictory impulses of turn-of-the-century Western culture to understand young women as both strong and vulnerable, both passive citizens and potential leaders. However, it is important to note that these novels actually extend an existing, if subtler, tradition in young adult literature. (Day, 2014: 7) Femininity and the modernized depictions of it is furthermore woven into the plots of dystopian novels across the genre of young adult fiction, integrating this aspect in each of its common subgenres.

2.6. Subgenres in Young Adult Dystopian Fiction

Similar to classic dystopian literature dedicated to an adult audience, its young adult variation holds several subgenres that are wide-spread in contemporary popular culture. “Each

YA dystopia has its own aesthetic and political orientation; however, we can trace thematic threads in the genre that reflect how the central fears and concerns of the contemporary world are grafted onto a dystopian landscape” (Basu et al., 2013: 2). The literary works are connected through certain characteristics and themes, but can be distinguished according to their main focus in most cases. Hence, the most frequent distinctions can be made between the subcategories based on the dystopian aspects woven into the stories along with the reasons behind and degree of the depicted destruction and oppression.

One of the most common types of dystopia present in young adult literature is the political dystopian fiction. Although the majority of texts published in this genre include a certain number of political themes, some works focus more strongly on the descriptions of the characters’ lives under respective ideologies and regimes than others. Additionally, the damage caused by the portrayed governments and institutions is often discussed in greater detail and length due to its prioritized function. Furthermore, the explanations of origin, cause and effect radiating from the political system in question argue for the labeling of a subgenre of political dystopian fiction within the branch of young adult literature. While the emphasis is put on leaders and governmentally installed regulations, one of their major effects, namely the social component, is commonly as strongly integrated in the novels. Nevertheless, the difference between a social dystopian text and a political one is the extent of descriptions included in the books that directly refer to either existing and historical systems, imagined or combined hierarchal structures.

Based on the extensive introductions to the prevailing politics of a fictional civilization and the subordination of other aspects, in spite of their possible function of key themes or aspects, a novel can be categorized as political dystopia. In terms of young adult fiction, this subgenre is considerably often applied as the political systems the protagonists live with and start rebelling against are described in many of its examples.

Despite the frequent inclusion of political structures and dangerous ideologies in young adult dystopian novels, the most significant factor, and hence subcategory, is the social one.

Although society is represented in almost every variation of dystopian literature, the excessive emphasis on it symbolizes its belonging to social dystopia. While the regular descriptions of a civilization affected by the harming ideology and politics predominating their country are closely tied to the subgenre of political dystopia, the focus shifts when the social standards and discrepancies become the cause instead of the effect in an apocalyptic environment. In order to detect a dystopian narration focusing on the social aspects in the story rather than other elements, certain perceptions of a society are highlighted and presented in a pessimistic tone. One of the most frequently thematized issues in this matter is love. As it is commonly connected to relationships, family structures and the freedom of choice, several elements are woven into the respective books at once. Lauren Oliver’s Delirium trilogy, for instance, describes a society in which true emotions are abolished and families are matched in order to ensure reproduction and to perpetuate the civilization. In this case, the dystopian elements cause restrictions members of the portrayed society have to succumb to in order to be granted their place in the fictional world. Another variation of social dystopia integrated in contemporary young adult literature is the thematizing of beauty ideals and certain norms prevailing in reality. With exaggerations and the inclusion of limitations and regulations which serve the purpose of control and power over people, the loss of rights and self- determination is omnipresent in this subcategory. Discussing beauty perceptions and

23 associated coercion that is instilled along with it is mostly related to gender portrayal and gender-based biases. Furthermore, female characters and the image of femininity represent a significant factor in stories that weave social criticism in their plots. In contrast to classic dystopian fiction, where Margaret Atwood is one of the most renown but few authors writing about women’s position in society set in a genre-characteristic environment, young adult literature establishes a casual and increasingly open approach to these topics. The dystopian genre is hereby an often-used tool to communicate ideas concerning socially created and predominating images of femininity and role distributions according to gender. Although the general portrayal of internalized beauty norms and the representation of women is mostly inserted directly as well as indirectly, texts equaling the subgenre of social dystopia published in young adult fiction establish a new variation of this literary branch. One of the most popular examples in this category is Scott Westerfeld’s Uglies trilogy which distinctively focuses on the strong emphasis on outer beauty and the intention to create a collective sameness and homogeneity rather than individuality.

A further specialization within the genre of young adult dystopian literature is the depiction of environmental crises, destruction and catastrophes. While this subdivision is not as widespread and popular in the public’s attention, it thematizes a range of broad hypotheses and scenarios imagining deadly effects of climate change and natural catastrophes. In addition to this, some texts combine the effects in nature with the cause of human actions and create pictures of wars and universal destruction highlighting the environmental and ecologic aspects evolving out of it. Based on the connections between this representation and the initiation of the respective events by social and political factors, the two subcategories as mentioned above remain omnipresent and significant elements in each of the dystopian plots.

In addition to political, social and ecological dystopia, the science fiction aspects frequently included in this genre sometimes outweigh the remaining components and become a separate subdivision. Since most dystopian works are commonly associated with science fiction as a superordinate branch of literature rather than a subgenre, opinions tend to vary on the ultimate definition. Due to the focus on dystopian literature, however, science fiction is at this point viewed as one of its subcategories as long as it does not overshadow the social and political critique included in the novels and hence turns vice versa. An indication of a dystopian science fiction novel is the involvement of technical equipment which is not existent in reality such as flying cars and other vehicles or improved computer and surveillance systems.

Further, the use of chemical substances, mostly in form of injections, in order to track and manipulate fictional characters implies the belonging to this particular subgenre. Veronica

Roth’s Divergent trilogy primarily uses manipulation and simulation serums while Suzanne

Collins’ The Hunger Games integrates general technical devices linked to science fiction elements. In addition to this, some novels portray alien dimensions and universes which eventually interact with the earth. This inclusion suggests a considerably strong representation of the subgenre. A distinction between pure science fiction and dystopian science fiction can be made according to the method used in the depiction of outer dimensions, as explained by

Thomas Moylan’s introduction to Scraps of the Untainted Sky: Science Fiction, Utopia,

Dystopia:

Where in the world am I? What in the world is going on? What am I going to do? These are questions common to science fiction (sf) whenever and wherever one locates it historically or geographically. Especially in the Anglo-American tradition, narratives of alienation and discovery have characterized sf from the early moments of its emergence from the sea of fantastic writing. (Moylan, 2000: 3) Fictional worlds located in outer space can generally be classified as science fiction, while those remaining in familiar territories and inserting non-existing technologies while portraying dystopian societies can be seen as dystopian science fiction.

Despite the existence of several other subdivisions in young adult dystopian literature, the social, political, environmental and science fiction segments are the most common and popular ones as represented by public demand. Based on the attention paid to these subgenres, the general genre flourishes. This is mainly proven according to public reception and the methods the contents are distributed in contemporary popular culture originating in the literary industry.

2.7. Young Adult Dystopian Fiction in Public Perception

Although the literary branch of dystopian contents is flourishing since the publication of

The Hunger Games, several other merchandising and marketing strategies are used to attract additional public attention. While this particular subgenre is often separated from young adult literature due to its specific focus and association with science fiction, the general popularity and public inclusion can be compared with each other:

The surge of advocacy for YA literature in classrooms and libraries that began in the 1970s and which has continued unabated through the first decade of the twenty-first century has had a pronounced positive effect. YA literature is ensconced in our culture in print and in film adaptations and contributes to literature study in middle school arts curricula […] (Hill, 2013: 3) Next to the traditional medium of printed books distributed as main source in this sector, several other methods are used within the industry. Aside from this, adaptations in both the film and games sector contribute to the universal success of dystopian stories originally released in written form.

The most renown application and distribution of dystopian literature, particularly evolving out of young adult fiction, is the adaptation into movies. Similar to the increasing popularity of the genre resulting out of the publication of the Hunger Games novels, their movie releases triggered a growing public interest in the general genre. Based on the success each of the 26 filmic adaptations achieved, the further advancement of dystopian book to film productions led to an increased inclusion of this branch of distribution. Hence, movies which are granted a considerably high level of advertisement are mostly based on best-selling young adult dystopian fiction such as Veronica Roth’s Divergent. Several other texts are planned to be turned into movies which corresponds with the tendency to reach a broader audience, also consisting of people who are not familiar with the books. In addition to film productions, the publication of some novels in e-book format further contributes to the attraction of broader public attention. Along with this, merchandising and online platforms dedicated to the interactive correspondence with and between readers achieve an increased level of attention.

With this, the dystopian contents are distributed in more than one branch while it originally remains in literature.

3. Young Adult Literature

3.1. The Development of a Genre

Young adult literature is often identified as youth and children’s literature although it contains unique features and represents an own literary branch in publication of works in contemporary fiction. However, this particular variation of literature derives out of the subordinate category of children’s fiction and is frequently referred to as youth literature due to its adolescent target audience. In order to chronologically portray the development of young adult fiction, its early beginnings, located in establishment of children’s literature as a new genre, are commonly seen as the first mentions and serve as its date of birth.

Due to the lack of detailed separation between genres and subgenres in the early days of literary history, children’s books included literary works dedicated to a younger audience regardless of their specific age. The essential difference made in terms of age restrictions and recommendations grounded in the division between adult and children’s literature. Hence, adolescents were commonly counted to either a mature target group or the youngest audience, as the existence of subgenres in this matter started to develop at the end of the 19th century.

Children’s literature was first defined as a superordinate genre, aiming exclusively at children and teenagers. The division between young children and adolescents was first introduced in the 20th century and soon picked up by major publishing companies and authors who started to specialize on this particular literary branch. Although youth literature and its later derivation of young adult fiction were published as such during the first half of the 20th century, the initial classifications included mostly crime stories and novels discussing social

28 themes narrowed down to contents directly affecting the readers’ personal lives as well as the topics prevailing in youth culture of the time. Particularly the latter category is expanded during the 1960s and the increasing publication of texts thematizing violence, gangs and youth culture. The most significant example for this subgenre which helped to advance the popularity of literature specifically written for teenagers, is S.E. Hinton’s The Outsiders

(1967). Following this, several novels coined different subgenres of youth literature which ultimately led to the establishment of its fixed position in contemporary literature. During the late 1990s and early 2000s, the term young adult fiction gained importance and attention within the literary community as the detailed separation between a younger and more mature target audience among adolescents developed. Although it is still often connected to regular youth or children’s literature, young adult fiction mainly focuses on older teenagers and sometimes reaches out to readers in their early or mid-twenties. One of the elements involved in the establishment of young adult literature as an autonomous genre is the increasing popularity of dystopian contents written for an adolescent audience. Although the genre has been termed as such before, the growing interest in novels similar to publications such as The

Hunger Games, featuring a female protagonist and feminine-centered role distribution or The

Maze Runner (2009) series by James Dashner representing a male main character in a dystopian environment, have contributed to the spreading of the genre’s focus and definition.

While the existence of youth literature developed out of the establishment of children’s books, the detailed separation between the terminology and the focus of it and its related genre of young adult fiction is often not directly visible. This is due to the fact that both share similar characteristics and feature a variety of topics appearing in each of the divisions.

Hence, certain traits are used to define whether a publication is rather classified as youth or young adult literature.

3.2. Characteristics of Young Adult Fiction

In order to distinguish the often interchangeably used terms of youth and young adult fiction, some characteristic features and aspects thematized in the respective novels indicate the slight difference between them. Among other factors, this includes the age recommendation, the life situations portrayed in the texts, mainly affecting the protagonists and the key issues woven into the stories. Despite the integration of certain similarities in other literary branches as well as the exchange of terminology referring to either youth or young adult fiction, these three aspects describe the most visible and provable distinctions.

Nevertheless, crossing points always exist between both variations as some novels are not clearly defined as either and often ascribed to youth literature in general. (see Garcia, 2013: 1-

12)

Based on the age distribution defined by the American Library Association and its chapter dedicated to teenagers and young adults, young adult literature is often supposed to reach a broader audience generally labeled as young adults. This means not only teenagers who still attend school but also readers who are college students or graduates are addressed. Due to the inclusion of topics that are of interest to both, teenagers and college students, as well as the age the main characters are frequently given, the fine boundaries set through definitions and recommendations blend. Nevertheless, the living circumstances portrayed in the texts are often aimed to resemble those of their readers which implies the attempt to create associative factors in the stories that lead the audience to relate to the fictional characters and worlds with their personal experiences.

Common themes woven into the respective novels refer to the change of regular and familiar living situations, the process of growing up regarding education, relationships, family and friends, as well as the shifting focus on life in general. In most cases, the influences that alter the protagonists’ lives and their habits result out of personal reasons or educational ones.

Personal triggers often root in family discrepancies, sudden death or illnesses that either affect a close relation or the main characters themselves. In the course of the story the fictional characters discover what is important to them in their lives and for what they regard it worth fighting for. In addition to this, educational reasons for change are frequently integrated into young adult literature as it reflects a realistic turning point in most adolescents’ lives. Due to the portrayal of protagonists between the age of sixteen and eighteen in this particular genre, graduation and college are issues often thematized in the respective novels. The inner changes and newly gained perspectives play a subordinate role at this stage and enable the adolescent readers to relate to the appearing conflicts and obligatory decisions. While certain subgenres might put different emphases on other aspects, in most examples the completed education plays a significant role as the teenagers’ lives take on new directions. Similarly, young adult dystopian fiction often includes an early or regular graduation from high school as a starting point for both the story’s plot and the character’s new life, which is mostly linked to an irreversible decision where it is going to lead. Therefore, a basis is created to which the target audience is expected to emotionally relate to.

Following the heavy inclusion of themes corresponding with the target group’s realities, the key aspects of love, friendship, professional decisions and family ties also mirror the attempt to distinguish young adult fiction from youth literature. Despite their similarities, youth literature often includes younger main characters and therefore appeals to younger teenagers while young adult fiction is mainly dedicated to the conveyance of thoughts, problems and their solutions, as well as life perspectives and prospects affecting older adolescents.

Hence, young adult literature thematizes issues mainly relevant to readers from ages fifteen or sixteen until their mid-twenties, as represented through the protagonists and topics discussed in the respective texts.

4. Feminism and Women’s Rights Movements

4.1. The Development of Feminism and the Different Phases in its Movements

Although the ideas of feminist movements have not been present in literature from its very beginnings, the roots of its developed versions which are actively engaged in fiction as well as non-fiction, are of considerable significance to contemporary portrayal. This is mainly due to the initial purposes and the altering demands and thoughts predominantly represented in respective movements and activism throughout the Western world. Based on the specific focus on contemporary North American literature, a chronological display of events and characteristics marking the distinctively impacted aims is presented at this point, exclusively depicting historical facts related to the United States.

Generally, the feminist movement can be distinguished according to three phases marked by both the years of their beginnings and endings as well as the contents of their demands and visions. The terminology used to define these three activisms varies but mainly refers to them as phases or waves. The first feminist wave was initiated by women’s rights advocates who fought for their right to vote in state elections with early groups forming at the end of the 19th century:

The First Wave feminist movement started during the late nineteenth century and continued through the early twentieth century in response to women expressing greater interest in de jure inequalities, including the right to vote and abolition movement. The declaration drafted by Elizabeth Cady Stanton at Seneca Falls in 1848 was the beginning of the Suffrage Movement. (Baxley & Boston, 2014: 31) However, the demonstration of unity among those who participated in the movement was properly organized in the beginning of the 20th century. While the expression of suffragettes was, internationally, mostly coined by British women’s rights activists who demanded the 33 right to vote, they also had a North American chapter demanding the same rights. Due to living conditions and social perceptions of African Americans and other minority groups at the given time, the first stage of feminism was majorly shaped by white middle-class women in the United States: “Although there were a few key Black women, the movement focused on the partnership with Black men, who were also fighting for their rights to vote” (Baxley &

Boston, 2014: 31). The central demand of first wave feminism was passed as the 19th

Amendment in the Constitutions of the United States, granting women the right to vote.

Although the second wave of feminism was not fully inclusive, parallel movements arose representing not only white middle-class women but also African American women and members of other minority groups. Despite the strong existence of Black Feminism, the most discussed and renown activism was associated with the white majority. On one hand, African

American feminism focused on minority rights and rights for women of color, on the other hand white feminism in its second phase mainly concentrated on reproductive rights and equal payment:

As the self-consciousness of minority groups were on the forefront, radical feminism became the voice of women of color. For the first time, the voices of non white-middle class women were being heard. […] To establish voice, many women-only organizations were established, including NOW, National Black Feminist Organization, Combahee River Collective, and Redstockings. Many publications were published from these groups, focusing on the rights of women regarding their bodies as separate issues from marriage, and motherhood, women’s treatment in a patriarchal, capitalist, heterosexual society, and the social construct of gender/sex. (Baxley & Boston, 2014: 32) Both groups influenced each other, as second wave feminism is often referred to as multicultural phase but simultaneously did not mix to the same extent as common in third wave activism. Among others, the demand for broader rights over women’s bodies, particularly concerning abortion, was one of the leading causes represented in the movement erupting in the mid-sixties of the 20th century:

The Second Wave Feminism in the United States, between the 1960’s and 1980’s, was highly concerned with sexuality and female reproductive rights, focusing on abortion and

birth control issues. This period was marked by slogans that supported the power of collective agency […]. (Baxley & Boston, 2014: 31) Based on the emphasis on female sexuality, several liberal movements joined at this stage, which can be seen as preparation for the following phase and its goals.

Following the second phase of feminism, the third wave was initiated during the 1990s and is frequently described to be a long-lasting activism, influencing present demonstrations and demands. The third wave is coined by intersectionality and inclusion of women originating from different backgrounds. Hence, social class, race, nationality, sexual orientation, physical ability and religion are often irrelevant in terms of participation but the respective women’s rights are turned into a common goal for intersectional feminists. Based on the considerably strong involvement of intersectionality in contemporary feminism, the inclusion of women of different backgrounds is mostly presumed in the movement:

The Third Wavers are focused on global feminist issues such as violence against women, trafficking and pornification of the media. Commonly referred to as Lipstick feminism or Grrrl feminism, the younger generation is informed by post-colonial and post-modern thought. Rebecca Walker, daughter of Alice Walker and founder of Third Wave Foundation, is credited for introducing the term Third Wave for new generation feminists […]. (Baxley & Boston, 2014: 32) Due to the internet and its application to contemporary feminist activism, it would be possible to define the current feminist causes and efforts as a fourth wave. Although it is seen as developed part of the third wave, the altered approaches dated from around 2010, use different strategies, provided through social media platforms. Aside from generally renown social media such as Facebook or Twitter, the exchange of ideas, planning of events, real-time response to persons of public interest or news reports increasingly spreads across different variations of platforms. For instance, the photo sharing network Instagram or the literature platform Goodreads offer communication opportunities for feminist movements. Groups and communities are formed and hereby shape the terms online or hashtag feminism. Based on the considerably altered approaches and methods used by contemporary feminism, the reference

35 to a fourth wave seems plausible. Furthermore, the movement’s goals have changed as the inclusion of all women regardless of social, racial, cultural or sexual categorization are openly demanded and practiced. Although issues as equal payment and body rights still predominate the activists’ intentions, the emphasis on inclusion and equal rights for women of all backgrounds is often foregrounded.

4.2. Meaning in Contemporary Perception

Based on the considerably strong influence on feminist causes rooting from the advanced technological possibilities as represented through social media and the connected instant communication tools, it can be claimed that the public presence of feminism has increased starting around 2010. Although recent years might have contributed to the development of contemporary feminist and women’s rights movements to a higher degree, the flourishing of social media started prior to the active application of emancipatory intentions and assemblies.

Despite the evolving post-feminist attitudes in society, which describes the belief that inequality based on gender is a topic of the past, due to the active participation on and inclusion of the world-wide web, feminism and its developed and updated demands and dedications are currently on their way back into public and collective consciousness.

While feminism is generally a familiar concept in education as it is a fundamental part in gender studies, being one of the grounding theories that construct this field, most aspects are frequently associated with historical events rather than present causes and developments.

With the omnipresence of various feminist groups and women’s rights or equal rights advocates in popular and global online communication platforms, the attention paid to respective movements is growing again. Therefore, contemporary activism connects to the

36 third wave ideals and concepts prevailing during the 1990s and shifts to a modernized version, shaped by instantaneous correspondence regardless of time and location. Although new organizations form and advertise their individual matters, existing groups increasingly use social media to reach a broader audience and integrate younger generations in their actions. In order to attract attention and involve people in webpages and communities displaying feminist contents, different approaches are pursued. One of these methods is the provision of educational material including readings, video clips, interviews and interactive communication features. Since well-known and widespread platforms such as Facebook and

Twitter generally give their users the opportunity to comment on shared contents, the time factor contributes to the increased enhancement of contemporary social movements, particularly concerning women’s rights and equality. Additionally, the technically advanced tools of communication enable its users to plan and organize gatherings and demonstrations online. Hence, rural territories still within reach of internet access, can connect with urbanized areas and share ideas without having met personally before. Therefore, the use of modern technology in and for feminism facilitates the engagement in women’s rights movements and provides global education at the same time.

Aside from traditional methods used in the education about historical feminism as part of public perception, the consistency mirrored by its presence in contemporary society due to the inclusion of online media and social media communication platforms increasingly attracts attention and participation. While the third wave of feminism has eased over the decades in some areas, recent engagements, also taking the first half of 2017 into account, contributed to the growing awareness of women’s rights and causes in society’s collective consciousness.

This is proven by the considerably strong dedication and interaction which is observable on respective sites run by feminist organizations on different social media networks.

4.3. Inclusion and Significance in Literature

Feminism and the frequently linked portrayal of female characters is often thematized in diverse literary genres, most dominantly in the branch of feminist literature. Although feminist fiction is not as well-established as non-fiction, several classics prove its existence.

Furthermore, the continuing inclusion of topics such as general women’s rights, body rights, reproductive rights and the defiance of heterosexual and white privilege refers to the persistence of feminism in contemporary literature as well as previously published works. The specific focus may shift according to the time period and author:

Precisely because there are many and diverse feminisms, the term feminist defies any simple explanation. Indeed, it is common for contemporary feminist texts to evade or elide the question of what feminism means […] It is important to realize that the authors of these texts may be intentionally avoiding the dangers of speaking for other feminists who have different and equally viable definitions of feminism. Thus, rather than a weakness, this evasion can reflect one of the feminist movement’s strengths – namely a commitment to openness and inclusiveness. As an alternative, feminist texts often provide a list of definitions that have been used by a variety of feminists. (Mann & Patterson, 2016: 1) While diversity in literature is currently mainly included and pursued by young adult fiction, adult genres also attempt to open up new and modernized perspectives in regards of women’s depictions besides its non-fiction, theoretical and scientific components.

Accounting feminist literature and the inclusion of respective themes in novels rather than non-fiction for its most popular and renown examples, the first developments are commonly defined through Simone de Beauvoir. While Virginia Woolf is referred to as icon of women’s rights based on her 1929 released text A Room For One’s Own, direct and intentional political statements aimed at social change are mostly to be found in later decades of the 20th century.

Despite the existence of early works written by women who specifically thematized issues of

38 inequality and social position, although not always openly labeled as such, De Beauvoir is considered as one of the most important representatives of early feminist thought. Her book

The Second Sex, published in 1949 describes the oppression of and social expectations towards women. Although she wrote both fiction and non-fiction in later years, she is most popular for her feminist ideas. Essentially impacted by and influencing for the second wave of feminism was the American author Betty Friedan who participated in the founding of the

‘National Organization for Women’ and later became its first president. The Feminine

Mystique, which was published in 1963, seized on women’s status in society and domesticity at the time and became a symbol of the women’s rights movement demanding gender equality. The last decades of the 20th century are strongly influenced by modern feminist ideals and demands as increasingly diverse genres integrated the movements’ goals into their literary works, both fiction and non-fiction. Based on this development, authors frequently took to intersectional perspectives on women’s rights and thematized femininity and womanhood in minority groups of various backgrounds along with the white, middle class majority.

In addition to the inclusion of racial aspects and sexual orientation, different subgenres of literature started to weave feminist ideas into their storylines. Authors such as Octavia Butler and Margaret Atwood consciously focused on women’s positions in society. Due to the categorization of their works as science fiction or dystopian fiction, the patriarchal structures displayed in novels such as Kindred or The Handmaid’s Tale, experimented with the level of oppression women could be exposed to. With this, the social perception regarding the female gender is highlighted. Therefore, similar works are considered influenced by and inspiring for feminist movements, mirrored by literature.

5. Feminist Literary Analysis and Criticism

5.1. Establishment and Development

The earliest roots of feminist literary criticism are suspected prior to the development of first-wave feminism, often referencing authors such as Margaret Fuller. Virginia Woolf’s A

Room For One’s Own is frequently referred to a literary work that coined the first approach of feminist analysis. Nevertheless, the most significant contributions are located with the beginning of the 1960s feminist movements, and therefore accompanies second-wave feminism.

During the flourishing times of second-wave feminism, the habit of questioning female portrayal in literature became increasingly relevant to the movement’s goals of gender equality and women’s rights: “Standpoint feminist theory evolved from key leaders including,

Patricia Hill Collins, Gloria Anzaldua, Alice Walker, and Trihn T. Minh-ha, relying on women’s experiences as the starting place for inquiry and knowledge” (Baxley & Boston,

2014: 32). The development of feminist literary criticism at the time can be separated into three categories, namely the feminine, the feminist and the female phase. The first phase is characterized through female writers’ connection to male dominated perspectives. The second phase focuses on intense criticism of women’s social roles in literature and the last one acknowledges the value of female characters and female authors, taking some of the insistence on every detailed analysis back. Furthermore, this school of thought can be divided in two main branches according to their approaches. The first category focuses on the criticism related to fictional female figures and their integration into the stories, while the second analyzes existing arguments related to women writers. (see Register in Donovan,

1989: 1-28) Thus, beginning with its early application in literature studies, different methods and perspectives were probed.

In addition to the analysis of respective texts, the intended inclusion of social criticism, emphasizing women’s roles and prevailing stereotypical perspectives chooses from a variety of methods to depict these contents. Julia Kristeva, for instance, integrates psychoanalytic approaches into her texts in order to examine the grounds on which female anxieties and the socially established role models are created. Hereby, she follows Jacques Lacan’s and

Sigmund Freud’s theories. Furthermore, to question the parameters in the definition of femininity and what determines a woman in literary description as well as societal perception is an omnipresent factor in feminist theory and its literary criticism:

Julia Kristeva tells us that ‘women can never be defined’. She dismisses the notion of ‘being a woman’ as ‘absurd and obscurantist’. As with Jardine discussing gynesis, ‘woman’ is not tied to an identity, and feminist practice is characterized by ‘negativity’ in the sense that it is ‘at odds with what already exists’. But Kristeva qualifies her claim with the word ‘almost’. Here she recognizes the political struggles in which women, identified as women, are necessarily still involved. (Eagleton, 1991: 196) In addition to the general tools of analysis, certain specifications have evolved out of feminist literary criticism as visible in the example of black feminism. Based on the movement of the same name, the examination of literary works according to a focus on female African

American contributions and portrayals was eventually established as distinctive method in literary analysis. While it was widely seen as separate branch of literary feminist criticism during its early development, following second-wave feminism between the 1970s and 1980s, it is often, although not exclusively, referred to as part of intersectional theory and analysis in present discussion.

In contemporary literature studies, feminist literary criticism has advanced to a frequently applied method for gender-related deconstructions of texts. With this literary school, scholars are enabled to systematically question dominating power structures and women’s portrayal in products of popular culture as well as academic approaches. 41

5.2. Methods and Characteristics

Feminist literary criticism chooses its methodological approaches from a variety of aspects included in feminism and gender studies. Based on its origin in political feminism the evolving feminist theory, this school of thought aims at the detailed exploration of women’s depiction in literature according to language, politics, social issues, economic factors and psychological description in literature. The language used to convey these issues is often a distinctive but significant field:

Some of the most influential feminist theoretical perspectives today, such as feminist postmodernism, poststructuralism, and postcolonial theory, use extremely difficult scholarly language. Among their ranks are feminists who challenge the notion that theory should be written in a style accessible to all. For example, postcolonial theorist Gaytri Spivak argues that simple language is easily misconstrued and/or interpreted differently by different people […]. (Mann & Patterson, 2016: 2) Additionally, a common perspective is the examination of male dominance in the respective texts, compared to the female role distributions. While the initial goals of this literary criticism during the first two feminist waves was to question the lack of female authors in the literary canon, women’s representation in fiction and conditions of women writers, the focus along with the integration of modern views shifted with the beginning of third-wave feminism.

One of the most present characteristics of contemporary feminist literary criticism is the deconstruction of power structures, mostly male-dominated, according to Freud’s and Lacan’s psychoanalytical approaches. In addition to the psychological component, this school of thought increasingly adapts political aspects and their questioning. Along with this, it is closely tied to gender studies and queer studies, as they are connected through interdependent

42 key factors in their analyses. Furthermore, patriarchal structures, whether applied deliberately or unconsciously, are basis for feminist criticism as they considerably affect women’s lives and functions in the respective novels. Diverse approaches have been established in the course of the last decades but some methods, whilst some of them closely connect to classic works of feminism and reconsider the respective ideas in modern contexts:

For other critics, the millennium marked a reassessment of their own earlier work. In the extracts from Judith Butler and Toril Moi, two of the major names of feminist thought return to the books that first made their reputations to look at them again with older but fresh eyes. In the extract from Undoing Gender, Butler ruminates on continued debates on sexual difference, the relation to heterosexism, the operation of sexual difference as a symbolic order, the possibilities of social change and the responses to her own work in these areas – all of which have relevance to feminist theory. Rereading Sexual/Textual Politics, Moi notices the occasional ‘failure of voice’ or ‘example of theoretical alienation’ […] Though still adhering to many earlier beliefs and processes of thought, she questions the views she held on binary oppositions, essentialism and subjectivity, and regrets some of her rhetorical strategies. Underlying her reflections is the figure of Simone de Beauvoir as the model of an intellectual woman. (Eagleton, 1991: 196) Based on this analysis of feminist text extracts in Mary Eagleton’s book Feminist Literary

Theory: A Reader, the relevance of older feminist voices in contemporary criticism is highlighted.

In terms of methodology, different ways of deconstruction are used, such as historical components, psychological approaches, sexuality studies, Feminine Critique, focusing on plot and structure of a text, as well as intersectionality. With this, the hybridity of this literary school is observable.

5.3. Intersectionality

The term intersectionality and the evolving intersectionality theory were coined by the

African American journalist Kimberlé Crenshaw in the 1980s. The concept refers to the distinct inclusion of diverse minority groups and is mostly connected to feminism, women’s rights and gender equality. It originally described the levels of discrimination observable in cases of people belonging to more than one type of minority. Since feminism in its first and second wave was mainly tailored for white middle class women, intersectionality attempts to focus on minorities, reaching out to diverse racial, sexual, social, national and religious backgrounds.

While intersectionality analysis as a tool of literary analysis has already been practiced in the last two decades of the 20th century, its inclusion in contemporary approaches is increasing. Along with this, the integration of its ideas and focuses in recently published literature, regardless of genre, suggests a strong emphasis on respective values and visions in the construction of fictional worlds. However, young adult literature is currently paying considerable attention to both, intersectional fiction as well as diverse authors. Although the majority of fictional characters, particularly protagonists, is still portrayed as white, heterosexual and often male, recent approaches show a distinct interest in female ones.

Further, minority backgrounds are woven into the plots, not exclusively by writers of diverse cultural heritage. Homosexual characters or persons expressively defining as non- heterosexual, are not as strongly involved in leading roles of general fiction. Based on this absence of sexual diversity, which is an established part of contemporary feminism and feminist criticism, a distinctive subgenre of young adult literature has been created under the

44 name of LGBT or LGBTQ+ fiction. Novels published in this section feature lesbian, gay, bisexual, transgender and other protagonists deviating from the societal normative structures of sexual orientation, frequently crossing with racial themes and feminist ideas.

“How important it is for us to recognize and celebrate our heroes and she-roes.” Maya Angelou

II. The Portrayal of Women in Contemporary Young Adult Dystopia 6. Legend Trilogy

The Legend trilogy by Marie Lu features two protagonists, one female and one male, who function as narrative voices on a rotatory basis. The female voice of June is of greater significance in this analysis as she contributes to the representation of women and femininity in contemporary young adult dystopia. The setting of the books introduces the reader to a post-war dystopian environment which eventually leads to another battle between the separated halves of the country. The protagonists live in a militaristic republic and therefore are familiar with combat and fighting skills. This is one of the most important qualities June possesses, which also affects her portrayal in the story. The story’s focus lies on the dystopian and totalitarian political system existent in the Republic, and the protagonists’ struggle for survival in the midst of erupting war. Based on the frequent occurrence of battle scenes, the female character and narrator embodies an image of a strong and physically skilled woman who fights for her beliefs and loyalties.

Since June belongs to a military system in which she is treated as a genius, she depicts a focused and mostly emotionally detached person. Despite the considerable coldness, she conveys to the outside, her strength characterizes her in a positive way as she embodies a determined and well-skilled young girl who grows up to a young woman who fights for her beliefs and stands for an equal power distribution among male and female figures. Her frequent combat scenes do not only demonstrate the persecution she faces due to her escape from the dystopian government, but also depict her emotional stability when necessary. This strengthens the image of powerful women contradicting the perception of the weakness attributed to the female gender. Furthermore, she takes on the role of a heroine with her actions and determination to fight for what she regards as right and necessary. While her

47 character seems to be hardened by external factors such as her education and the effects of constant threats of attacks, June’s innermost feelings are revealed in the course of the trilogy and prove that a considerable degree of her presence is a façade used to convey a message of inapproachability and superiority. This is particularly visible when she is forced to escape from her home district and city of residence in order to avoid arrest and further consequences for betraying her team, colleagues and commander in chief. As the story proceeds and June becomes more involved in the rebel forces she joins to survive as well as change a system that persecutes her and is responsible for her family’s death, the reader is introduced to her past and her feelings towards her present situation. Above all, however, she puts her mission and its successful completion first. Hence, the female protagonist of the Legend trilogy represents a hardened but self-directed and self-confident young woman who dedicates her efforts, skills and loyalty to her beliefs. Based on this, she embodies a modernized depiction of female characters in dystopian surroundings and settings.

In addition to the overall portrayal of June’s character who functions as representative of modernized and emancipated female role models, the descriptions of her appearance and actions contribute to the image of responsibility, maturity and determinations. These attributes are widely positively connotated in the novels as she fights not only for the system she was brought up in but at a later stage for what she regards as the right thing to do. The intense loyalty she feels towards her military institutions, which partly also root in her brother’s position in it as well as her mostly respectful treatment, is revealed as manipulative interference in her life as the story unfolds. The strong feelings she has for the system for the most part of the first novel, however, also suggest a blind trust for the system that pays her respect and does not directly distinguish between gender in their recruitments. Since the dystopian environment is not fully presented to her at the beginning of the trilogy, her affection towards her life as a soldier cannot be held against her.

The position she holds in the first book is typically associated with masculinity and therefore symbolizes a break with traditional depictions of stereotypical femininity which often refers to women as members of a weak gender and in need of caretaking. With the profession she pursues as well as the behavior she takes on whenever she is engaged in her work, her character contradicts this image. Furthermore, June embodies a female figure who is hardly described as feminine in her appearance. This is partly due to her job in the military and her education in the academy that requires uniforms, and partly dependent on her preference for casual clothes rather than dresses and skirts, typically referred to as feminine dressing style. Although June assimilates to the occasions on which formal clothing is mandatory, she does not continue wearing dresses in her spare time. While she temporarily enjoys the feminine representation that comes with her dress she wears for the dinner she is invited to by the Republic’s elite, this action also highlights society’s strict expectations on the gendered clothing. Despite her traditionally male position in her country’s political system, the main character still has to bow down to social norms and standards regarding the representation of femininity. Along with this, her behavior is expected to be modest and kind, instead of determined and authoritative. Nevertheless, the female protagonist regains her commanding nature and attitude in the remaining parts of the novels and therefore dominates over the stereotypical expectations of society. Despite the frequent scenes of combat and the recurring threat of being in danger of arrest and persecution, certain aspects often included in the portrayal of female literary characters are woven into the text. These factors are mostly connected to relationship structures and the development of romantic interests which are described from June’s point of view and also involve an altered outer appearance that serves not exclusively the protagonist’s disguise in the second and third novel.

June functions as role model for a modern portrayal of women in dystopian environments due to the description of her person but also because of the actions she takes. Despite some backlash in her determination caused by emotional reactions towards her past and the treatment of her beloved ones, she conveys an image of constant dedication to her goals. In addition to this, she also embodies an independent character who stands up for her beliefs and takes responsibility for her actions. While the male protagonist is portrayed in a similar way,

June’s position in a traditionally male dominated area and profession contributes to the characteristic depiction of female figures in contemporary young adult dystopia as her emancipation from a traditional pattern used in the portrayal of women in dystopian literature is considerably more effective in the overall representation than the one of men. Since male characters in classic adult dystopian novels tend to claim the spotlight while female ones are subordinated, June symbolizes the change towards heroines and gender equality in the Legend trilogy as presented to young readers of the genre.

In addition to June’s behavior and her embodiment of a strong female character who plays her part in breaking down the gender barrier, her emotional description as well as the relationship structures in the novels further contribute to the representation of femininity and women in the trilogy. While the perception of her character from the outside mainly relies on her strength, determination and courage, the inner monologues woven into the texts include several aspects of insecurity, anxiety and critical self-reflection. Although she is ultimately able to overcome her fears and doubts and mostly hide them from her enemies and her social environment, they hinder her actions at certain stages. Nevertheless, June does not miss her goal despite the confrontation with her self-reception and thoughts. Moreover, they primarily serve the cause of introducing flaws to a seemingly hardened personality which make her human but at the same time outline the inner development she undergoes in the course of the story. Some of the factors in her initial backlash but final character development that helps her

50 gain additional strength are exclusively related to her past and her deceased family members while another aspect refers to her engagement in romantic relationships and her attitude towards them.

A pattern commonly applied in young adult dystopia is the love triangle centered on a female protagonist. While a major part of the Legend trilogy is dedicated to the description of the apocalyptic prospects connected to the setting, June’s relationship with the male protagonist, Day, is already included in the first part of the trilogy but increasingly involved in

Prodigy and Champion. Although June is introduced to Anden, who mimes the second male in the love triangle in the first installment, he is no active part of it until the second book:

I turn to Anden. He’s very much like his father, tall […] and quite regal looking, with dark curly hair. Like Day, he has some Asian blood. […] Anden smiles at my lingering gaze, gives me a perfect bow, then takes my hand in his. Instead of shaking my hand like the Elector did, he holds it up to his lips and kisses the back of it. I’m embarrassed by how much my heart leaps. (Lu, 2013: 180) Hence, the trilogy first describes the encounter between June and Day and their development of emotional attachment before the construct of the love triangle is activated. The inner confusion and indecisiveness the female protagonist feels is depicted in her thoughts and actions during her mission, out of which true affection blossoms at a later stage. Despite her ultimate decision for the character she initially falls for, as well as the challenging reconnection based on his memory loss, the developmental process in terms of defining her love interests is a concept frequently included in this genre that highlights on the one hand the emotional processes of the protagonists:

I close my eyes. I should stop him, but I don’t want to. There is something electrifying about the bare passion in the young Elector of the Republic, the way he leans into me, his desire exposed even beneath his unfailing politeness. […] He knows, as much as I do, that this isn’t real. I have to stop. And with a pained effort, I pull away. (Lu, 2013: 179) On the other hand, involves romantic aspects inserted into the storyline that distract from the main topic of the dystopian world as recounted in the novels.

June’s approach towards her romantic interests along with the reflection of her feelings for both male characters is frequently dependent on the outer influences and the unfolding political situation. While she attempts to follow her initial mission, the encounter with Day triggers not only an emotional reaction but also the eventual realization of flaws in the system she loyally serves. Since the developments in the dystopian environment are not directly visible to the female protagonist for a major part of the first novel, the most important aspect to her is taking revenge for her brother’s death. Day, who is assumed to be responsible for the attack, triggers an emotional affection in June which she does not expect. Although she fulfills her task and helps to arrest him, she battles with the attraction she feels. Her façade which consistently conveys an image determination veils her innermost feelings, but releases them when June realizes the danger she is in. Although the relationship between her and Day does not involve physical or emotional violence against each other, they are recurrently exposed to it due to the battles they are forced to take part in. When the love triangle is revealed with the active engagement of the fallen leader’s son in the story, the protagonist is not only confronted with conflicting emotions and the obligation to take a decision but also with the direct application of typically feminine attributes in order to attract male attention.

Despite the fact that it serves her security and ensures her survival after her voluntary exposure, the use of beauty norms and body image refers to gender-based stereotypes. The altered appearance including the complementing dress June wears during her meeting with the new representative of her country, implies a considerable strong reliance on female beauty standards and sexual attraction despite externally oppressive circumstances:

It's still bitterly cold outside, but in here it’s warm enough for the servants to have clothed me in a light dress and thin leather boots. My hair has been washed, dried, and brushed, and it falls straight and shining down to the middle of my back. It’s been adorned with strands and tiny cultivated pearls […] At first I admire them with ginger touches – but then I recall the poor people gathered at the train station in their threadbare clothes, and I pull my fingers away from my hair, disgusted with myself. Another servant had dabbed translucent powder across my eyelids so they gleam in the low firelight. My dress, a creamy white accented by stormy grays, flows down to my feet in layers of

chiffon. The inner corset makes me short in breath. An expensive dress, no doubt; fifty thousand Notes? Sixty? (Lu, 2013: 133) The necessity to work with such tools roots in the social perception of women as sexualized characters which sometimes goes as far as labelling them as objectifications of desire. Since the tactics June’s team develops grounds on this perception, the gender-biased content woven into the Legend trilogy, although not often directly portrayed, is emphasized.

The dystopian trilogy does not directly focus on the portrayal of female characters but weaves certain patterns of socially embedded representations of women into the story. The most essential aspect in the novels is the erupting war between the Republic and the opposing part of the country, which includes the destruction of the dystopian environment through the intervention of heroic teenage protagonists. The depiction of women in the three books plays a subordinated role but still influences the perception of the female main character. Since June is not described as a young woman holding a position in a typically female environment, a gender-biased representation is defied from the beginning. Her position in the military and the education she receives in a military academy are factors that correspond with traditionally male connotated factors in gender-related portrayals. With this, the femininity as displayed in the series is influenced by masculine attributes and associations which leads to the establishment of a mostly gender-neutral perception. Although June conveys an image of strength and harshness, there are no typical references to weakness as it is often related to the female sex. The concept of gender-related stereotypes as present in society through the existence of standardized expectations on beauty and behavior based on female and male categorization is visibly applied in Prodigy and Champion but mostly left out in Legend.

Despite earlier dangers related to the general political system of the protagonists’ home country and romantic interests developing between June and Day in the first novel, an emphasis on gender and sexual representation is laid when the third part of the love triangle actively engages in the story. In addition to this, the mission June is part of demands the use

53 of a strategy that involves the seducing of a male character with the tool of female sexuality as tailored to attract interest based on body image and clothing. The intentional application of social stereotypes depicting the female gender as sexualized in order to achieve a certain goal contradicts the initial portrayal of June as a self-directed, determined and strong-willed person and temporarily defies the insertion of gender equality. Since this behavior is imposed on the young woman by her team in Prodigy, it also symbolizes the pressure put on the female gender to meet the expectations society holds which are frequently connected to clichés and prejudices rooting in a person’s gender identification. Following the activation of the love triangle and the increased feminine portrayal of June is a slightly weakened in the last part of the trilogy. The battle against the dystopian political environment and the clashing power systems become foregrounded issues and therefore exchange their priority position with the inclusion of patterns used in the depiction of female characters. Hence, the references made to gender-related aspects is limited and often hidden between the key topics but still conveys the dissolution of biases based on the character’s sex during most of the story.

7. The Testing Trilogy

The Testing trilogy is written by Joelle Charbonneau and is set around Cia who is chosen to participate in the Testing, a format only a limited amount of high school graduates is admitted to in order to fight for their chance to attend the only existing university. Since the novels thematize a post-war dystopian world in which natural and educational resources are scarce, the testing system represents not only an initiation processe for potential university students but also determines the participants’ futures in success and failure. Although it is not revealed until the protagonist is actively involved in the procedure, it is implied from the beginning that knowledge and talent are not the only prerequisites required of the young adults. The recurring threat of death and the used term ‘Redirection’ hoover over the initiates and expose the dystopian practices followed in the books. As Cia gathers her allies around her and decides to stop the forces behind the sorting system, she becomes the heroic figure typically included in dystopian young adult fiction. Based on her behavior and attitude as depicted in the course of the novels, she furthermore functions as a role model for the defiance of gender biases and the progression of strong female characters is contemporary, genre-specific, literature.

The portrayal of female characters in The Testing trilogy is not recognizable by the inclusion of directly visible trademarks accredited to gender-specific use as there are hardly descriptions of clothing and outer appearance mentioned. Moreover, there is no significant distinction made between the display of male and female looks or clothing. Sexualization and references to explicit attributes of femininity are not part of the story as the representation of gender differences is not a key topic in the novels. Based on this, remarks on a female character’s appearance and body are left out. Nevertheless, other aspects reveal a certain

55 image of women that is created through the predominating descriptions applied to the main character as the story proceeds.

Cia’s character is shaped by a strong will and determination, which is presented to the reader from the start. In that matter, not only her fixation with the continuation of her education and the desire to gain more knowledge and qualification, which would lead to a respected and requested position in society, but also her drive to pursue her goals is omnipresent in the series. In addition to the considerable value accredited to her achievements, her convictions and beliefs are coined by a strong longing for justice, which influences her further character development in the course of the story:

Once I’m done, I pick up the papers strewn across the room, pile them neatly on the table, and head for my bedroom. President Collindar’s lesson has made me remember something important. The signs the government posted on the fence at the airfield imply that it is dangerous to venture into that area, but this doesn’t mean the government believes that to be true. Something lies behind those fences. It is time to find out what that something is. (Charbonneau, 2014: 251) Thus, the protagonist is capable of taking on responsibility and leadership although she initially doubts her skills in the field of expertise she is directed into. While certain hindering factors contribute to the development of self-doubts and emotional insecurity, the aspiration to prevent injustice and harm against innocent people outweighs her anxieties. Generally, Cia represents a self-confident and emancipated young woman who takes action according to her convictions rather than institutionalized norms or the dystopian environment she is forced to live and engage in.

As the story proceeds, the romantic interest Cia takes in Thomas as mentioned at the beginning of the first installment in the series, develops into a relationship that shapes her character description until the end of the last chapter. Although it is not always a direct priority in the protagonist’s actions, her involvement with her male colleague plays a significant role in her emotional depiction. Cia fights primarily for justice and to save

56 innocent people from extinction and slavery caused by the testing system and the forces behind it but also keeps thinking about her boyfriend’s wellbeing in the confrontation with their enemies. While her emotional attachment influences to a considerable degree in her decisions, she still succeeds in focusing on her initial goals. The relationship between the female main character and her former class mate Thomas is constantly exposed to threats from outside factors, such as the political system and the university, but also faces difficulties from inside. The outer influences might be responsible for the problematic situations in the characters’ partnership but they are recurrently led to think about crises and solutions which often overshadows the love they share. Despite the otherwise harmonious depiction of their love, an aspect of betrayal is inserted into the construction of their relationship. Since the two fictional figures are not attracted to others, the betrayal refers to secrets both keep regarding their actions and methods to stay alive. The growing distrust resulting out of the lies and secrets involved in their lives poses temporary threats to their personal connection as well as the achievement of their shared goals. Nonetheless, they are mostly capable of separating their feelings from their mission and provide compromises and solutions to their private problems.

Aside from the description of the main character’s relationship and romantic interests, the common concept of a love triangle is not applied in the novels. Although Cia shows signs of interest for Michal throughout the story, it is never enough for a binding attraction. The female protagonist is therefore portrayed exploring her emotions and weighing the level of attraction to two different persons but only actively engages in a relationship with the one she is in love with from the beginning. This refers to a considerable consistency and morality despite the included identification process of her different emotions, and a higher level of self- confidence and knowledge of herself. In that matter, The Testing restrains from a typical relationship structure included in several contemporary examples of dystopian young adult fiction.

Although Cia is not actively participating in the dystopian system due to her status of a high school graduate, she advances to a mature character who voluntarily takes on responsibility for a greater majority. With her increasing interest in the authorities behind the university and the representatives of the judicial system as practiced in the capital city, she evolves out of her role of a testing candidate and university student to a heroic figure opposing a life-threatening dystopian ideology. In the course of this altered role and power distribution affecting the female protagonist, the character development and emotional and mental portrayal change as well. Since she is a strong-willed person at the beginning of the first book, her determination does not weaken as her life takes different turns than she imagines after graduating. Based on the intensity of the incidents she witnesses during both her initiation phase as well as her study program, Cia embodies a mentally strong character due to her continuing reengagement in the cause and passionate participation in the fight for survival. While certain events hinder her determination at times, mainly describing the loss of fellow initiates or students, she still maintains her inner strength that helps to focus on her physical skills. Despite the brief moments of emotional breakdowns, the pursuit of her personal and altruistic goals remains her priority. Hence, she represents a heroic figure fully dedicated to her self-chosen role and mission in spite of several backlashes and personal losses that temporarily cloud her focus.

This emphasizes the portrayal of reliable and resilient women in dystopian environments. Part of the character development unfolding in The Testing trilogy is Cia’s overcoming of her fears and convictions against physical violence. Since she restrains from causing unrequired harm to others, she has to engage in the process of learning to defend herself. Although she maintains her moral values and regrets every violence she is forced to use against her competition in the initiation phase and as a university student, the main character learns how to integrate this part of her personality in her life as a tool to save the majority of people affected by the reign of the capital city’s leaders. The reasons for Cia’s intense care for the

58 country’s future consist of personal as well as altruistic factors. Her family’s involvement and endangerment by the government and university officials caused by her actions of resistance contributes to a considerable part to her engagement. However, the major purpose of her participation in the rebel forces and later separation from them serves her self-declared goal of saving innocents from their deaths inflicted upon them by the respective authorities and officials. Since these sources are part of the country’s dystopian government system, the protagonist is forced to increase her self-esteem and self-confidence in order to succeed in her quest. Cia is directed into the position of the leader among the group of fellow students who agree to help her with her intentions. With her training experiences as well as her personality, which is characterized by strength and determination, she advances not only to a heroine who defies the dangerous political environment she lives in but also embodies a female leading figure composing aspects of emancipation as well as the modernized portrayal of women in dystopian literature.

Since most of the female supporting characters in The Testing series do not appear in each of the three installments, there is no equal comparison between them and the protagonist.

Although the president is chosen to be a woman and thereby conveys an image of gender equality in the distribution of powerful positions, she is one of two female characters continually presented in the trilogy. The second figure is Cia’s fellow student and friend,

Stacia, who is introduced in the first novel and remains in her life until the end. Based on the first encounter between Stacia and the protagonist, the differences are highlighted in their behavior in the testing process as well as their stand on the methods used to determine the potential university students shape their friendship and the diversity in the representation of women and femininity in the novels. Although Cia learns to think strategically and defend herself using acts of physical violence, her friend embodies her counterpart in terms of personality and character portrayal. While the protagonist attempts to adjust to the altered

59 behavior she is required to show as soon as she engages in the pursuit of her altruistic goals,

Stacia remains her pendant. Cia displays a strong-willed character from the beginning but is also constantly reflects on her actions and connect them to her emotional compass. Hence, the main character mostly relies on her moral beliefs and prefers negotiations over violence, which contradicts Stacia’s attitude and approach to resistance. Moreover, Cia’s friend and fellow university student does not act for altruistic reasons but in pursuit of personal benefits as demonstrated by her readiness to engage in the protagonist’s plans in Graduation Day:

Stacia is waiting where I last saw her. Before I can take a seat, she stands and says, “You don’t have to convince me that what you said the president asked you to do is the truth. At first I thought it must be an elaborate joke, but I know you wouldn’t joke about something like that. So, tell me what I can do to help.” “Just like that?” I ask. Walking here, I’d come up with all the things I could say that would convince her to be a part of this team. “Dr. Barnes runs this University. If we were still in The Testing, I’d probably side with him – since he’d control whether or not I got here. But the president’s in charge of the country. Id we succeed, I’ll be a hero. Heroes get more options for their future. They also have more power. I want both. So where do we go from here?” (Charbonneau, 2014: 105, 106) Following this, the three recurring female characters embody the heroic figure, the powerful head of the country and the fighter who values victory higher than emotionally and morally defendable decisions. Based on this, the trilogy includes differing images of femininity and womanhood which contradict the traditional portrayal of subordination in dystopian fiction and a connotation of weakness and the necessity of protection.

8. Matched Trilogy

The Matched trilogy evolves around Cassia’s experiences with the dystopian society she lives in. Since the concept of love is abandoned and forbidden to practice in the country the story is set, the protagonist takes part in a ceremony each of the citizens does once they turn sixteen. In the course of this procedure, the matches for every teenager are announced.

Following this, the respective persons are expected to spend their lives together to ensure the continuation of civilization. In order to avoid individual feelings to blossom, medication is prescribed. The limitations of this system are not realized by Cassia until she discovers her attraction towards another boy. When she is introduced in the first chapter of Matched, the reader is informed about her trust in and approval of the matching process:

I’ve waited so long for this: for my Match Banquet. Where I’ll see, for the first time, the face of the boy who will be my Match. It will be the first time I hear his name. I can’t wait. As quickly as the air train moves, it still isn’t fast enough. It hushes through the night, its sound a background for the low rain of our parents’ voices, the lightening-quick beats of my heart. (Condie, 2010: 3, 4) Although she is matched with her best friend Xander, she increasingly takes interest in Ky, the mystical outsider who joined their neighborhood as a child from an unknown territory.

The decision to break out of a life characterized by restrictions grows inside the protagonist and is partly caused by outer influences forcing her to leave the city. The developments she undergoes as a result of the discovery of her living circumstances in an oppressive social and political environment accompany the realization of her innermost emotions and desires, as well as the rising passion for history that has been banned from the country. This and the scenes she becomes a witness of trigger her intention to change the current living standards and rules imposed in the respective civilization. While her two companions assist her in the

61 fight for advancement and freedom, she is mostly dependent on her own because they are separated for the majority of the trilogy. With this, however, the representation of the female protagonist and her developments are observable without frequent and direct interference of other characters.

In terms of appearance, distinctions are deliberately made from the beginning of the first installment due to the dress code scheduled for every person in the country. The garments predestined for female and male use, as seen in the descriptions of the Matching Ceremony, are based on gender-related perceptions and include dresses for women and pants for men. In addition to this, color is restricted in order to establish a common basis within the society.

Along with the limitations in music, film and literature, colors are selected by the leading authorities. Therefore, the dresses Cassia is allowed to choose from are made in the few colors approved by the responsible officials. Furthermore, the matching ceremony is the only occasion that entitles the participants to exchange their regular clothing with colorful garments. Despite the fact that each dress is held in a single color and not allowed to consist of more than this, it represents a piece of freedom to Cassia that is symbolically enclosed by an invisible glass cage as a piece of the dress is delivered to every teenager after their matching in a small glass panel. The significance of clothing hereby exceeds the conveyance of gender-based appearance and resembles the encapsulated desire for freedom of choice.

Aside from this, the general inclusion of looks, body image and social beauty norms is reduced to a minimum as it is not part of the regular life in the communities. The only described exception to this is the Matching Ceremony, which allows the persons who are introduced to their chosen life partners to wear makeup. Since the increasing of attractiveness through alterations on one’s outer appearance is prohibited in the dystopian environment and everyone is supposed to possess as few material belongings as possible, neither further distinctions inspired by gender biases nor a sexualized apparel in order to achieve certain

62 personal goals are applied in the three novels. The lack of signifiers associated with the explicit display of female attributes and stereotypically linked portrayals of femininity is therefore not part of the story.

Apart from the aspect of body representation in the Matched trilogy, the character description of the female protagonist develops in the course of the story but mainly conveys the image of a strong personality and the overweighing conviction to fight for what she regards as right and necessary. In the beginning of the series, Cassia is not as self-confident as she is in the end. She is often associated with insecurity and self-doubts along with a blindness towards the system she lives in and its rules she is forced to follow, until she learns more about Ky. During her conversations with him she also develops feelings equaling a romantic interest which is strictly prohibited in her civilization. With the new insights she gains, Cassia also acquires a higher self-esteem and confidence in her skills. Based on this the discovery of love leads her to question her previous life and her social environment’s lifestyles.

The description of love and relationships is one of the superior themes in the novels due to the systemic procedure of matching couples rather than granting them their free will.

Additionally, the common structure of a love triangle is woven into the storyline. Although the existence of this construction is related to the relationship system practiced in the fictional world, it still provides a typical basis for contemporary dystopian young adult fiction portraying female heroines. Cassia’s indecisiveness between her match, Xander, and her externally manipulated but officially disguised potential but unqualified match, Ky. Despite the priority status Xander attains as selected match and best friend, the belated participation of

Ky in the love triangle activates this specific structure. The protagonist’s role in this construct develops over time but always clarifies her as the single person in charge of her decision.

Contradicting the laws of her home country, she follows her attraction for an unapproved

63 match and thereby advances in her inner strength as well as the position she claims in the change that is in progress in order to end the oppressive system imposed on the citizens of the novels’ setting. The arranged marriages in the civilization leads to a mostly monotonous relationship structure in the civilization, which already indicates a suppressive factor in the story. At the same time, this limitation is applied because the effect of romantic relations is awarded a considerably strong power and hence declared as dangerous to the dystopian political government. Cassia’s personal approach to this issue reflects her country’s perspective in the beginning but changes in the course of the trilogy as she discovers emotions she is unfamiliar with. The time she spends with Ky after the realization that he was originally part of the matching process despite his unqualified status affects her in the alteration of thought patterns and her views on what she can expect of her life along with opinion on the society she lives in:

I think of all the things he can do – write, carve, paint – and suddenly, watching him stand in the dark at the edge of the empty settlement, something sorrowful washes over me. There is no place for someone like him in the Society, I think, for someone who can create. He can do so many things no one else can do, and the Society doesn’t care about that at all. (Condie, 2012: 273) While her initial interest in him roots from the curiosity triggered by the appearance of his face on her matching card, Cassia starts fighting for her right to love the person she chooses on her own account instead of relying on the officials in charge of the selection process. In addition to her newly gained passion for her right of free choice and freedom in general, her growing distrust towards the dystopian system she lives in is fueled by the realization of being part of an experiment on directed love. Hence, the encounter with the small degree of free choice she thinks is granted to her leads to the sparking of her rebellious attitude which ultimately impacts her further life and the role she plays in the deconstruction of the social, political and ideological system of the country.

While Cassia is portrayed as an average teenage girl looking forward to her matching ceremony and preplanned future at the beginning, she evolves out of this oppressed and oblivious position and grows into the self-acclaimed role of a fighter for freedom and choice.

Her efforts are mostly inspired by personal interests, particularly her love interest in a person considered unqualified for the matching procedure, and further develops to a passion she dedicates to the acquisition and distribution of forbidden knowledge. Although the main character actively participates in the battles in Crossed and Reached, her attempts to be part of the combat forces similar to Ky and Xander, remain insufficient. Instead she engages into the spreading and facilitation of creativity as well as basic and historical knowledge. With this, she fills a role of education, traditionally associated with female characters and women in society.

The active engagement in education that is forbidden in her civilization represents two different aspects in Cassia’s character portrayal. On one hand, she enters an area typically associated with the female gender as it equals the profession of a teacher and hereby depicts a traditionally feminine method of bringing change. On the other hand she takes her part in the rebellion by doing what constitutes her personality and field of expertise. However, she adapts to her position in secret education despite her strong desire to actively participate in the battle along with her friends:

Whenever I can, I write letters. I’ve made them in many ways: a K out of strands of grass; an X with two sticks crossed over each other, their wet bark black against a silvery mental bench in the greenspace near my workplace. I set out a little ring of stones in the shape of an O, like an open mouth, on the ground. And of course I write the way Ky taught me, too. Whenever I go, I look to see if there are new letters. So far, no one else is writing, or if they are, I haven’t seen it. But it will happen. […] I know that I’m not the only one doing these things, committing small acts of rebellion. (Condie, 2013: 21) The role of the warrior is therefore awarded to Ky and Xander, although the latter is trained in medicine and only fights undercover for the majority of the story. Hence, the role distribution in the actual battle and rebellion against the oppressive dystopian system is based on a

65 predominating gender-related image of male and female ability. The male characters are placed in positions requiring physical strength, which is traditionally attributed to men, while the female protagonist is degraded from her initial efforts to take part in the combat scenes and directed to a location considered as appropriately safe from where she engages in logistical and education work, frequently referred to as adequately feminine. Due to this gender-based role distribution, the positions in the novels do not symbolize a breach with traditional transcriptions but relies on a subtle involvement of new patterns mostly woven into the female protagonist’s emotional and mental description along with her characterization of a considerable strong willpower and emancipatory character development.

Besides Cassia, who embodies the main character in the Matched trilogy, several other female figures appear in the novels without consistency. Although they impact the portrayal of women in the story, the strongest impact roots from the protagonist. At the beginning of the series, Cassia is described as part of a social environment that involves several female characters she defines as friends. Only her best friend remains a frequently mentioned factor in the further progress of the storyline and, hence, contributes to the establishment of a pattern applied to the portrayal of femininity in Matched, Crossed and Reached. In addition to her,

Cassia’s mother, who is not introduced as a particularly present role in the first chapters of the first installment, but advances to a significant figure in the course of the books, also marks an influence on the protagonist as well as the representation of women in the dystopian system.

Nevertheless, the most impacting influence originates from the protagonist’s memories of her grandfather and his subtle attempts to educate her in areas restricted and prohibited by the government. Her grandfather is ascribed to the position of a mentor, exceeding his death.

With this, the female main character is led by male assurance, trust and encouragement which is mostly necessary to realize what system she is caught in and, in further consequence, to stand up for her rights and beliefs in opposing dominant social and political structures.

9. Delirium Trilogy

Lauren Oliver’s Delirium trilogy depicts the struggle of Lena and her emotions in a world where love is banned and persecuted. The dystopian social system prescribes its civilization surgery in order to prevent them from falling in love and discovering their innermost feelings in interpersonal relationships. To ensure the establishment of standardized nuclear families, partners are matched by the government prior to the surgery and expected to spend their life together after it. While Lena does not question the system she is raised in as passionately as her best friend, Hanna, she rejects its practices after her encounter with Alex. Due to her blossoming feelings for him and her unwillingness to give them up for an affectionless life, she partly decides to change her life and partly is forced to do so by the persecution led against her. Following this, she joins the rebelling forces aiming for the destruction of the restrictive political system and the establishment of a new order. Based on the fact that Lena escapes before she undergoes her scheduled surgery, she is threatened with her life not only because of treason but also her status of an uncured person who is still able to feel love, which is not tolerated in the social and political environment she originates from. On account of

Lena’s heavy involvement in the rebel processes and her position as female protagonist in the novels, she also functions as indicator for the portrayal of strong and emancipated women defying the dystopian setting they are placed in.

The general description of Lena focuses on her character development, which is considerably broad due to her initial attitude towards her future prospects in life and the passion she discovers to fight for what becomes important and dear to her. Since the protagonist is raised in a family that strictly believes in the necessity of the procedures freeing

67 people from the ability to feel love and affection, she hardly questions the alternative of surrendering to the rules:

Many people are afraid of the procedure. Some people even resist. But I’m not afraid. I can’t wait. I would have it tomorrow, if I could, but you have to be at least eighteen, sometimes a little older, before the scientists will cure you. Otherwise the procedure won’t work correctly. […] I don’t like to think that I’m still walking around with the disease running through my blood. Sometimes I swear I can feel it writhing in my veins like something spoiled, like sour milk. It makes me feel dirty. It reminds me of children throwing tantrums. It reminds me of resistance, of diseased girls dragging their nails on the pavement, tearing out their hair, their mouths dripping spit. (Oliver, 2011: 1, 2) Although her best friend, Hanna, constantly talks to her about forbidden music, festivities, and unapproved relationships between minors who have not yet been cured, Lena mostly keeps to what she assumes to be the only possible and right way of life. The main character is depicted as mature, responsible, and convinced of the justifications for prohibiting any kind of love among the civilization. Her façade begins to break when her matching procedure, which serves the purpose of finding an appropriate and approved partner, is disrupted by rebels who intend to prevent the further practicing of arranged families and the persecution of emotional attachment. The encounter with Alex, who is part of the rebelling forces, a short period of time after this incident, contributes to Lena’s eventual alteration of her beliefs. The increasing affection she feels for him lead her to question what possibilities she would have without the reduction of feelings as well as the purpose of this system. Furthermore, she starts dreading her surgery, to which she is looking forward to at the beginning. Hence, the deep conviction she feels in terms of the abandonment of love and relationships grounding on emotions rather than analytics and reason is shattered when she falls in love and discovers the possibilities she could have without undergoing the surgery. Although her character development is only initiated at this stage, one of the most significant aspects, namely the change of thought, affects her further portrayal and role in the story. With having acquired the knowledge of an intense feeling which she is not willed to miss in her life, she advances to a mental and physical fighter of the dystopian system. Therefore, Lena undergoes several developmental

68 processes which also involve the adjustment to her altered living circumstances and the coping with loss and emotional pain that ultimately contribute to her final portrayal in the story. Evolving out of the correct girl who is loyal to the oppressive methods practiced in her home town and country to a heroine who attempts to free herself and other affected people from the burdens and limitations imposed on them, she represents a strong female character who does not only transform in her way of thinking and approach to life but also succeeds in emancipating herself in order to lead her personal and altruistic battle.

Due to the heavy involvement of the themes of love and relationships in the storyline, the protagonist’s approach towards her emotions as well as the structures applied to her romantic interests play an important role. Similar to the majority of contemporary young adult dystopia, the Delirium trilogy includes the construction of a love triangle featuring Lena and two male figures. While the strongest factor in Lena’s love life is Alex, who is the reason for her altered lifestyle and the new role she takes on, a second character, Julian, joins in Pandemonium and reappears in Requiem, the second and third installment in the series. Despite the omnipresent feelings for Alex during his absence and assumed death, his rival is awarded with a privilege as he decides to follow the rebels being the son of one of the fiercest defenders of the curing:

“Do you think we’re safe?” he asks. His voice is hoarse. I’m not sure whether he is referring to the deliria, or whether he is asking about the fact that we are trapped here, but he lets me lace my fingers through his. He has never held hands with someone before, I can tell. It takes him a moment of fumbling to understand how to do it. (Oliver, 2012: 195) Taken into account that his late appearance in the story and the uncertainty of Alex’s fate suggest the inexistence of a love triangle, he mimes the protagonist’s second love interest without competition. With Alex’s reappearance the structure of the triangle is applied and

Lena is confronted with her emotions and, hence, forced to reflect on their intensity and meaning. Although the two male characters are described as active rivals at certain points, the decision remains with the female leading figure. Since both of her relationships are shaped by

69 harmony rather than emotional or physical violence, the essential aspect in the portrayal of her love life is her own approach towards it.

Based on the considerably high importance ascribed to Lena’s emotional and mental developmental processes as they are frequently described in the course of the novels, her inner approach to herself and her surroundings impacts her position in the fictional world. The main character’s initial portrayal is consistent with the restrictions and laws practiced in her home country. Her desire to be cured from emotions seen as abnormal, harmful and disgusting roots from both her conviction of the decency and appropriateness of the civilization’s political and social system as well as from her ancestors and the negative held towards them with which she has grown up. Since she wants to prove her difference from her mother’s unapproved lifestyle, the protagonist firmly believes in the rationality and benefits of the procedure. In contrast to Hanna, she is mostly enticed by the idea of being provided with a life partner and only fears an unattractive male character being chosen as her future husband. The altered perspective and new insights she gains following her encounter with Alex stir up her innermost emotions and beliefs. More than once she doubts her sanity and fears a possible mental illness under which live is commonly categorized in her civilization. In the further progress of the story, however, Lena’s feelings cannot be suppressed any longer and lead to her drastically changed role in the trilogy.

Due to the considerably high importance ascribed to Lena’s emotional and mental developmental processes as they are frequently described in the course of the novels, her inner approach to herself and her surroundings impacts her position in the fictional world. The main character’s initial portrayal is consistent with the restrictions and laws practiced in her home country. Her desire to be cured from emotions seen as abnormal, harmful and disgusting roots from both her conviction of the decency and appropriateness of the civilization’s political and social system as well as from her ancestors and the negative held towards them with which

70 she has grown up. Since she wants to prove her difference from her mother’s unapproved lifestyle, the protagonist firmly believes in the rationality and benefits of the procedure. In contrast to Hana, she therefore is mostly appealed by the idea of being provided with a life partner and only fears an unattractive male character being chosen as her future husband. The altered perspective and new insights she gains following her encounter with Alex stir up her innermost emotions and beliefs. More than once she doubts her sanity and fears a possible mental illness under which love is commonly categorized in her civilization. In the further progress of the story, however, Lena’s feelings cannot be suppressed any longer and lead to her drastically changed role in the trilogy. The mystery and lies surrounding her mother’s disappearance and assumed death cause an inner turmoil that results in further ambition to deconstruct her past and origin, as well as the passion to break out of the limitations and change the oppressive lifestyle predominating her civilization. Furthermore, the emotional attachment to Alex and the new perspectives he gives her trigger inner conflicts that ultimately lead to the decision to join the rebelling forces and adapt a new way of thinking.

The altered living circumstances Lena has to accept in the course of her escape and later membership in the rebel groups influence her attitude as she eventually changes from a young girl loyal to and convinced of her country’s rules to a young woman who represents a strong female character fighting for her rights against a society practicing and demanding persecution and oppression. The protagonist’s development is therefore mostly dependent on the outer influences that affect her inner approach towards her own life and the social environment that shaped her upbringing and internalized thought patterns. Due to the strong emphasis on emotions and love throughout the three books, Lena’s altered perceptions reflect an emancipatory process based on the ability to feel and engaging emotional bindings with others regardless of prescriptions and laws. While the basis for this realization is the discovery and acceptance of her feelings, the main character represents the fight for choice, freedom and

71 her rights. Hence, the emancipatory aspect in this dystopian trilogy outlines the development of individual emancipation and the movement to fight for personal rights denied by politics and society.

Although certain factors related to the portrayal of femininity in the Delirium series are based on appearance, no direct references are made in terms of their function in the story. The general description of the female main character is constituent with a body image referring to a standardized expectation prevailing in society as she is depicted as neither skinny nor obese.

However, Hanna’s depiction represents an image of femininity more frequently regarded as desirable as it is also stated by through the protagonist’s subjective opinion. Since she is blonde, slender and tall, her outer appearance suggests a common perception of a beauty ideal tailored specifically on the female gender. In contrast to the frequent mentioning of body images and beauty standards, the inclusion of clothing and particular gender-based regulations is nonexistent. The civilization described in the novels does not prescribe specific garments or colors which means there is no general restriction in the choice of clothes. The protagonist does not wear any clothing style representing a particular beauty norm. Contrary to this,

Lena’s friend Hanna embodies not only a typical image of women regarding her outer appearance but is also depicted in a dressing style that is frequently described in closer detail:

I’m glad the choice is made for us. I’m glad I don’t have to choose – but more than that, I’m glad I don’t have to make someone else choose me. It would be okay for Hana, of course, if things were still the way they were in the old days. Hana, with her golden, halo hair, and bright gray eyes, and perfect straight teeth, and her laugh that makes everyone in a two-mile radius whip around and look at her and laugh too. (Oliver, 2011: 30) Predominantly feminine in the beginning of the trilogy, one of the last scenes she appears in features her in her wedding dress which also displays the succumbing to social standards and expectations. Apart from this, outer appearance portrayed through looks and clothing is not a subordinated theme in the novels, particularly in the main character’s depiction.

Aside from Lena as the protagonist in the Delirium trilogy, several other female characters are mentioned in the story who reappear in all three installments and function as certain representative aspects in the representation of women in the dystopian setting. Since her mother is a mystery to the main character, until the revelation of her existence defies the belief of her death caused by unapproved relationships and the feeling of love, she is an omnipresent aspect from the beginning of the series. While she represents a hindering factor in Lena’s character development and the reason for her strong belief in the cure at first, she becomes a symbol of revolution and emancipation to her in the further progress of the story.

Despite her behavior towards her daughter Requiem, which is shaped by the rejection of the mother position, she remains a symbol of freedom and the long and difficult process of gaining it. Her arrest for falling in love implies the practice of condemnation when a person is drawn to a lifestyle that is not approved by the society and government they live in. Along with Lena’s mother, her best friend Hanna is one of the most significant characters embodying certain stereotypical features in the portrayal of women. Since she is depicted as a young girl fitting into the socially established norms regarding appearance and feminine body image, her behavior and attitude contradict the stereotypical description of this type of female literary character. With her rebellious actions and thoughts, Hanna is a character who longs for self-directedness and freedom of choice. Her later decision to adapt to the system of matching partners highlights the pressure put on her by the fictional society and the moral values distributed within it. Based on her final reinstatement of her desire for rights and choice overshadowing her marriage and the procedure she undergoes, she eventually breaks free from the oppression:

What will happen to me? I don’t know. Maybe I will come across someone who recognizes me. Maybe I will be brought back to my parents. Maybe, if the world doesn’t end, if Fred is now dead, I will be paired with someone else. Or maybe I will keep walking until I reach the end of the world. Maybe. But for now there is only the high white sun, and the sky, and tendrils of gray smoke, and voices that sound like ocean waves in the distance. There is the slapping of my shoes, and the trees that seem to nod

and tell me, You’re okay. Everything will be okay. Maybe, after all, they are right. (Oliver, 2013: 282, 283) As illustrated in this passage, she regains her power which changes her into a strong-willed character initiating her own emancipation from the dystopian system.

10. Starting Points and Methods of Portrayal

The four examples of contemporary dystopian young adult fiction introduced earlier in this chapter serve as basis for the conduction of the general portrayal of femininity and female characters as specifically integrated in this particular genre and are, therefore, analyzed according to similarities and differences. These are not only observable in the methods used in the depiction of women and their positions in the stories, but also in the books’ beginnings and the related first descriptions of the respective protagonists and supporting characters.

Although the contents vary, certain tools of display remain the same in the Legend, Delirium,

Matched and The Testing trilogies.

The first aspect each of the book series’ shares is the considerably slow introduction of the dystopian environments’ extents and the effects they have on the protagonists’ personal lives and further developments. Although the oppressing environments are more present in the beginning of Delirium and Matched than Legend and The Testing, the direct impact is not revealed within the first chapters. Moreover, the priorities are seemingly set on the decent description of the protagonists’ living circumstances, their personalities, close relations and future prospects. Along with the expectations they hold towards the near future, the political and social flaws imposed on the characters’ everyday lives are revealed. Thus, the general key theme of dystopian systems and the ways they affect the fictional population is not fully depicted in the introductions but subordinated to the depiction of significant persons in the stories. While June’s life is shaped by the military republic she lives and works in the first installment in the Legend series, the initial portrayal consists of her personal relations and the loss she suffers. Despite early references to persecution and oppression, the focus is set on the

75 main character in the first descriptions. Similarly, the introductory chapters in Delirium and

Matched give hints concerning the restrictions and dystopian elements prevailing in the fictional society and political establishment without directly turning it into a major theme. The

Testing slightly differs from this pattern as it does not convey the image of an existent dystopian environment with political corruption or social repercussions. The emphasis on the female protagonist and her educational goals which represent a future life different to the majority of the civilization, does not refer to extraordinary suspicious political dominance but rather the long-term effects of the country’s destruction as happened during a previous war.

The post-war setting is turned into a suppressed culture exposed to the omnipresent influences of a characteristic and institutionalized dystopian government. Nonetheless, the first descriptions of the story widely constitute with the overall approach pursued in all four examples to this analysis.

Another similarity that occurs in each of the examined trilogies is the portrayal of their female main characters which widely resembles the descriptions of the young women’s outer appearance as well as their initial emotional approach to the personally endangering social and political systems predominating in the country of their origin. One of the most striking aspects in the depiction of the respective female protagonist is a shared characteristic on which their body image grounds. While the body shape mostly confirms socially predestined norms adverting to the dominance of slenderness, height plays a foregrounded role. Although it is not continually mentioned in the further progress of the stories, the main characters are defined as shorter rather than taller which is frequently shown through their own voice of narration, relating to their subjective perspectives. This description contributes to the established image of sensitive and introverted female adolescents who are confronted with self-reflection and identity development processes prior to their significant functions in the respective story. Since the remaining factors in the methods used to depict the protagonist’s

76 outer appearance are equally resistant in terms of sexualization, erotization, and general clothing style, namely the preference for casual ungendered garments, the following essential factor is the protagonists’ character development and its function in their altered perspectives and perception.

11. Character Development and Endings

Although it is described in different varieties and based on several distinct reasons and influences, the character development and its phases each of the protagonists undergoes in the course of the stories is a shared aspect vital to the progress of all four trilogies conducted as examples in this section. In addition to the individual development which ultimately serves the protagonists’ dedication to the liberation of their civilization or the improvement of their living standards and commodities, the achieved results which represent the endings to the respective stories are similar in Matched, Legend, Delirium and The Testing.

Since the girls are mostly depicted as self-assured on the surface but insecure on the inside, the character development each of them goes through strongly contributes to their altering roles within the fictional worlds. Furthermore, the female characters experience similar situations of danger and fear which require inner strength, self-confidence and, at times, pertinent physical abilities. These qualities increment the persistence with which the fictional figures claim their essential positions in the changing environment triggered by the revelation of dystopian elements. While the necessity to provide the protagonists with self-assurance and self-esteem they do not possess to the same extent in the beginning of the respective novel implies that the girls and young women are in need of approval and trust in order to achieve certain goals they are predestined to, it also shows their ability to improve and advance to a higher degree of maturity and responsibility. Aside from this, the considerably intense inclusion of the characters’ emotional and mental states during their developmental phases suggests a strong emphasis on their innermost feelings towards the individual causes but also towards themselves. This is also proven through the description of several scenes referring to

78 self-reflection and inner conflicts. Due to the integration of such sequences in each of the four book series, the importance of emotions associated with both, the female gender and the tumultuous situations caused by the dystopian environments and systems is highlighted.

The endings of the trilogies are connected to the protagonists’ character developments to a considerable extent, which relates to the strong impact their obligatory empowerment and enhanced acquisition of emotional and mental strength have on the story’s outcome. The conclusions chosen for Legend, Matched, Delirium and The Testing share similarities in final description of both their main characters as well as the collective fate of the respective civilization. Since each of the examined novels features a civil uprising and the clash between dystopian forces and rebelling groups led or strongly influenced by the protagonists, the situations after the battles, which vary in their intensity and performance, ground on the same patterns, following the heroization of the young women:

Lena struggles against the expectations that restrict her agency and, ultimately, she works with others to create a new social order. And Oliver is hardly alone in drawing inspiration from early twentieth-century New Woman figures in developing the character of increasingly self-aware, increasingly politically active Lena. From The Hunger Games’s girl warrior Katniss to Divergent’s seemingly fearless Tris […], adolescent women protagonists in such dystopian novels both recognize their liminal situations, and over time, use their in-between positions as a means for resistance and rebellion against the social orders that seek to control them. (Day, 2014: 3) Although not every aspect of the protagonists’ lives finds a definite conclusion in the end of the last installment, the overall structures suggest an improvement concerning the majority of the fictional population. Despite casualties and destruction, the harming ideologies are extinct by the efforts the female main character and their friends invest in their cause. Hence, the confrontation between the classic good and evil figures and powers lead to the victory of the protagonists, who are defined as honorable and saviors in terms of the defying of dystopian political and social structures. Since each of the book series includes a love story tailored around the main character, their personal wellbeing is another factor integrated into the last chapter of the respective trilogy. While not every detail associated with the protagonist’s 79 relationships is clarified, they are portrayed to be at peace with themselves and mostly in the process of reconnecting with their loved ones. June’s relationship with Day has ended in the course of the Legend trilogy due to the amnesia he suffers from in the aftermath of their battle against the restrictive government. Nevertheless, the ending suggests a possible resumption of their relationship as they meet again in the last chapter of the third book. Lena’s future prospects are not as openly declared in the last installment to the Delirium series but also refer to a positive ending as described in the epilogue. The endings in the last novels of The Testing and Matched are akin to each other as both protagonists face a promising future with their partners, once the fight against the oppressive and manipulating regulations imposed on their societies is won. Based on the similar patterns applied to the endings chosen for the examples analyzed in this section, the emphasis is generally put on a positive outcome regarding both the country’s population as well as the individual lives of the female main characters.

Building a general assumption on the results of this structural examination of four popular examples published in the genre of dystopian young adult fiction, common tools and methods applied in this literary branch include the description of the female main characters, their relationships, the processes necessary to advance to the predetermined position in the fictional world, as well as the novels’ introductions and endings. The body image conveyed by the protagonists’ appearance and looks is non-confirmative to prevailing beauty standards due to their description as casual, short in height, and not skinny. Nonetheless, their depiction does not break with dominating hierarchal structures in the feminine beauty ideal constructed in

Western societies as none of the main characters is defined as either physically larger or portrayed with darker skin color, and therefore not opposing white privilege and body regulations. In terms of the inclusion of love in the novels, each of the female protagonists engages in exclusively heterosexual relationships. Furthermore, all of the examples contain love triangles in which the young women are confronted with the decision between two male

80 characters at a certain stage in the stories. In addition to their romantic interests, the major influences which constitute an essential trigger factor in the protagonist’s altering lives come from male characters who claim significant positions in their personal descriptions. Although their partners play important roles in their actions, a considerable part of the encouragement the female main characters are in need of to withstand the pressure they are put under, can be traced back to father figures. Hence, Cia’s connection to her father, who is a university graduate in The Testing trilogy highlights this impact from the beginning:

Mom and I get along fine, but the past couple of years she has seemed distant. Less willing to help me with my homework. More interested in getting the boys married and talking about where I will apprentice when I finish school. Any discussion of me being selected for The Testing is not welcome. So, I talk to her less and less and to my father more and more, He doesn’t change the subject when I speak about going further in my education, although he doesn’t actively encourage me. He doesn’t want to see me disappointed, I guess. (Charbonneau, 2013: 4) Further, June’s intense desire to take revenge for her brother in the Legend series and Cassia’s recurring thoughts about her grandfather’s attitude towards the dystopian power structures in the Matched novels prove this point. In the matter of the protagonists’ inner conflicts and their qualifications to the role they are attributed with in the fictional worlds, the character development is used to provide them with increased self-confidence and strength to face the challenges lying ahead of them. In addition to this, the introduction and conclusion chosen for the Legend, Matched, Delirium and The Testing trilogy display similarities. In the beginning, the main characters are primarily introduced to the reader, already inserting small chunks of information regarding the political and social circumstances the fictional figures interact in.

However, the realization of the true extent and effect originating from the dystopian structures predominantly present in the respective society is revealed at a later stage and represents a surprise to the protagonists. Similarly, the structural progress in the stories involves the preparation for a fight against the oppressive and restrictive system which ultimately leads to its destruction.

At the end of the trilogies, the prospects for both the protagonists’ personal lives as well as the surviving part of the civilization are depicted as promising and assertive. Therefore, the examples establish an image of young women and girls who defy traditional feminine attributions of weakness and role distribution. Although they have to acquire additional strength and increase their self-confidence, they are coined by a description relying on their power, determination and ability. While it can be claimed, that the general portrayal of women in young adult dystopia, as conducted by the results of this exemplary analysis, conforms the attempt to include strong female characters representing a breach with gender inequality, contemporary inclusive feminist causes are not considered in leading roles. Hence, the overall picture corresponds with strong-willed, emancipated, primarily heterosexual, white women placed in crucial roles to the stories’ further progress.

“Many stories matter. Stories have been used to dispossess and to malign. But stories can also be used to empower, and to humanize. Stories can break the dignity of a people. But stories can also repair that broken dignity.” Chimamanda Ngozi Adichie

III. Case Study: Katniss, Beatrice & America in Charge of the Future 12. The Hunger Games

The Hunger Games trilogy evolves around the female main character Katniss Everdeen and describes her experiences in District 12, which she calls home, and Capitol District, where the annual Games are hosted. The three books follow the protagonist through two sets of Hunger

Games as well as the part she takes in the revolution against her society’s political system.

Based on her leading role in this fictional world, she is mostly viewed as a heroic figure and therefore holds several traits of a strong female literary character influenced by certain aspects of feminism. These can be found in a detailed analysis of the story, its characters and their construction.

12.1. Physical Appearance

Katniss Everdeen is characterized by clothing that generally contradicts the stereotype of feminine dressing. Her first description in the beginning of the first novel portrays a clothing style that becomes typical for the character beyond her public appearances required by the styling teams of the Hunger Games. Hence, the true personality and lifestyle of Katniss is depicted prior to the changes created by outer influences: “I swing off the bed and slide into my hunting boots. Supple leather that has molded to my feet. I pull on trousers, a shirt, tuck my long dark braid up into a cap, and grab my forage bag” (Collins, 2008: 4). Although the outfit she chooses in this particular scene is clearly related to hunting, it also represents a major part of her personality. Since Katniss regularly practices her hunting skills and earns money and food with them, a considerably large part of her life consists of this activity.

Hence her preferences in clothing complement her lifestyle and embody her identity.

Despite her participation in the Games, she refuses to give this reminder of her personality up as long as she is granted a say in her style: “There are drawers filled with fine clothes, and

Effie Trinket tells me to do anything I want, wear anything I want, everything is at my disposal. I peel off my mother’s blue dress and take a hot shower. […] I dress in a dark green shirt and pants” (Collins, 2008: 42). This indicates a reference to her daily life before she was forced to volunteer for the Hunger Games. Furthermore, Katniss’ choice of clothes implies a refusal to adapt to what she is later expected to represent, namely a female contestant in feminine dresses. This assumption is supported by the clothes the character wears at the

Reaping. Since each citizen of the twelve Districts is meant to wear beautiful gowns in order to celebrate the day, the girls are to take part in the procedure in dresses, thus emphasizing their gender. Although Katniss has long hair, which is considered a stereotypical marker in the depiction of femininity, leaving it in braids while wearing the requested dresses in the beginning of the story adds aspects of resistance to her image. On one hand, her braided hair becomes a trademark within the fictional world as it is linked to her appearance both before the ceremonies which are held prior to the Games and her performances in the actual Hunger

Games. On the other hand, it demonstrates a dissolving of typical female characteristics mainly depicting feminine dresses combined with long hair worn either open or pinned up.

Braids therefore symbolize a combination of both without underlining a clearly stated gender- related cliché.

With the official beginning of preparations for the Games, the previously given freedom of choice is taken from Katniss, and replaced by what is demanded by the broad audience:

“You’ll be put in the hands of your stylists. You’re not going to like what they do to you. But no matter what it is, don’t resist […]” (Collins, 2008: 58). While the forced alteration of her clothing style is explained necessary for the character’s survival in the fictional world, it also suggests that women have better chances for acceptance when dressing more femininely.

Although Peeta is also required to undergo the procedure of finding a new styling, the changes affect Katniss to a higher degree:

I’ve been in the Remake Center for more than three hours and I still haven’t met my stylist. Apparently he has no interest in seeing me until Venia and the other members of my prep team have addressed some obvious problems. This has included scrubbing down my body with a gritty foam that has removed not only dirt but at least three layers of skin, turning my nails into uniform shapes, and primarily, ridding my body of hair. My legs, arms, torso, underarms, and parts of my eyebrows have been stripped of the stuff, leaving me like a plucked bird, ready for roasting. I don’t like it. My skin feels sore and tingling and intensely vulnerable. (Collins, 2008: 61, 62) While the character’s appearance is turned into a working task for her styling team as required in the Game’s procedure, the maintenance of her usual hairstyle represents a subtle resistance against the set of rules. This can be transferred to the resistance against standards in female body image and beauty norms. Katniss’ braided hair therefore implies her connection to her past life and the family (see Collins, 2008: 64) she is forced to leave behind as well as the refusal to give up her identity in order to fit into a standardized world. At the same time this factor in the protagonist’s appearance becomes one of her most important trademarks:

My hair has been brushed out and then braided down my back in my usual style. “I want the audience to recognize you when you’re out in the arena,” Cinna says dreamily. “Katniss, the girl who was on fire.” (Collins, 2008: 67) Hence, the braided hair functions as a reminder, a symbol of resistance and a trademark.

Through its significance within the novel, the pressure put on female candidates is emphasized. Apart from the cause their selection serves and the conditions the participants are thrown into once they appear in the arena where the Games are held, the considerable influence taken on the individuals’ outer appearance is highlighted. The openly practiced necessity of stylings and alterations on female contestants’ appearances against their wills signifies the high value accredited to a feminine image of girls and women:

We go to my room and she puts me in a full-length gown and high-heeled shoes, not the ones I’ll be wearing for the actual interview, and instructs me on walking. The shoes are the worst part. I’ve never worn high heels and can’t get used to essentially wobbling around on the balls of my feet. […] When I finally conquer walking, there’s still sitting,

posture […] eye contact, hand gestures, and smiling. Smiling is mostly about smiling more. (Collins, 2008: 115) Although each of the participants is required to improve their skills beforehand, the importance of looks is weighted higher as it is portrayed in both the opening ceremony as well as the interviews prior to the Games. Based on this considerable interference in the contestants’ personal preferences Katniss returns to her usual appearance whenever possible:

When I’m dried and moisturized with lotion, I find an outfit has been left for me at the front of the closet. Tight black pants, a long-sleeved burgundy tunic, and leather shoes. I put my hair in the single braid down my back. This is the first time since the morning of the reaping that I resemble myself. No fancy clothes, no flaming capes. Just me. (Collins, 2008: 86, 87) The high interest taken in the female participants’ outer appearances as well as the image of femininity that is created by their clothing and trained behavior suggests certain expectations that have to be met. Despite the intent of the Hunger Games, all contestants, particularly female ones based on their styling and behavior lessons prior to public events, are required to convey a stereotypical image ranging from innocence to sexualized performances during the interview sessions:

The girl tribute from District 1, looking provocative in a see-through gold gown, steps up the center of the stage to join Caesar for her interview. You can tell her mentor didn’t have to any trouble coming up with an angle for her. With all that flowing blonde hair, emerald green eyes, her body tall and lush … she’s sexy all the way. (Collins, 2008: 125) While these are used as strategies to keep the contestants alive during the Games and attract the audiences’ attention, the idea behind the methods is the usage of stereotypes and stereotypical behavior tailored according to the participants’ personalities and looks rather than their skills. In the described interview scene mentioned in The Hunger Games, male contestants are frequently shown as strong, while female ones mainly use their bodies of pretend a girl-like innocence. While Peeta is an exception to this rule, the majority of given examples follows a stereotypical pattern. Katniss, on the other hand, is deliberately pushed into an appearance that emphasizes her femininity due to her rejecting behavior and

87 inapproachable attitude: “This day belongs to Cinna. He’s my last hope. Maybe ha can make me look so wonderful, no one will care what comes out of my mouth” (Collins, 2008: 119).

Although the focus is set on Katniss’ appearance, the clothing is highlighted without suggesting a personal trait. In contrast to the remaining female candidates, the protagonist’s style is supposed to attract attention without suggesting promiscuity or purity:

Then Venia begins to work on my hair, weaving strands of red into a pattern that begins at my left ear, wraps around my head, and then falls in one braid down my right shoulder. […] Huge dark eyes, full red lips, lashes that throw off bits of light when I blink. Finally, they cover my entire body in a powder that makes me shimmer in gold dust. […] Because my dress, oh, my dress is entirely covered in reflective precious gems, red and yellow and white with bits of blue that accent the tips of the flame design. The slightest movement gives the impression I am engulfed in tongues of fire. I am not pretty. I am not beautiful. I am as radiant as the sun. (Collins, 2008: 120, 121) Based on the dress and its design, which includes colorful and reflecting jewels, the main character is enclosed in an appearance that triggers a positive connotation due to its impressive sight. Although Katniss is told to twirl on the stage in order to attract attention from the audience, this action is not merely aimed to underline her female appearance but also to catch the public with the glamorous gown she wears. While the basis of such an action can be argued as stereotypical pretense of girlish innocence, this particular scene puts the dress over the associative thought. Nevertheless, the intention is still present, as to why female contestants are expected to rely on their appearance and a certain behavioral aspect at all.

Although the intention of playing at innocence might not be mentioned or suggested before the interview, the protagonist adds these components to her performance without consciously planning to:

I spin in a circle once and the reaction is immediate. “Oh, do that again!” says Caesar, and so I lift up my arms and spin around and around letting the skirt fly out, letting the dress engulf me in flames. The audience breaks into cheers. When I stop, I clutch Caesar’s arm. “Don’t stop!” he says. “I have to, I’m dizzy!” I’m also giggling, which I think I’ve done maybe never in my lifetime. But the nerves and spinning have gotten to me. (Collins, 2008: 128)

While the image of innocence might be part of the show, the main aspect conveyed by

Katniss’ interview is modesty, although not specifically mentioned prior to the event: “[…] I can’t believe I’m wearing this, either.” I lift up my skirt to spread it out. “I mean, look at it!”

(Collins, 2008: 128). Despite the considerable alterations on the character’s outer appearance, her hair is left in a single braid, which remains a reference to her true identity and a symbol of resistance.

With the end of public events and ceremonies prior to the Hunger Games, the practice of creating certain images with the help of body or character emphasized tactics becomes insignificant. Once the Games start, the distinctions between genders disappear and are replaced by the focus of the event, namely the lone survival of one contestant. Hence, the aspect of appearance no longer plays any essential role in attracting potential sponsors among the audience:

Cinna does my hair in my simple trademark braid down my back. Then the clothes arrive, the same for every tribute. Cinna has had no say in my outfit, does not even know what will be in the package, but helps me dress in the undergarments, simple tawny pants, light green blouse, sturdy brown belt, and thin, hooded black jacket that falls to my thighs. (Collins, 2008: 145). In terms of clothing and looks, an equal starting point into the Games is established which is not related to gender and body image and therefore neither benefits nor hinders female or male candidates in their winning chances. Throughout the Hunger Games, looks play a nonexistent role in the novel, since the fight for survival becomes the obvious priority in the fictional world. The essential importance accredited to outer appearance is only of use at times when the aim is to attract public attention and find sponsors among the audience who could support contestants by investing their money in life-saving items. Moreover, body image and female stereotyping are consciously applied in order to receive what is of interest.

Therefore, particularly female appearance is objectified in some cases to gain personal

89 advantage through which can be assumed that the broader public reacts to stereotypical behavior and representation of gender.

Once the Games end, the focus is brought back to appearance, as the winner has to be presented to the audience. Despite the struggles and fights the winner has to live through in order to survive, a certain beauty standard is expected and preconditioned. Although this prerequisite is not exclusively restricted to female winners, certain passages in The Hunger

Games suggest that a higher beauty standard is set for women and girls than for males. Since the story is built on Katniss’ and Peeta’s common victory, both sides are depicted to a certain extend in the aftermath of the Games. While Peeta has to undergo surgery because of his leg, there is no mentioning of artificial alterations on his appearance serving a specific beauty standard. Contrary to this, it is demanded to perform such a surgery on Katniss. Due to her mentor’s refusal to agree to it, the required standard has to be met in another way, which still highlights the strong fixation on female appearance and its regulations:

I immediately notice the padding over my breasts, adding curves that hunger has stolen from my body. My hands go to my chest and I frown. “I know,” says Cinna before I can object. “But the Gamemakers wanted to alter you surgically. Haymitch had a huge fight with them over it. This was the compromise.” (Collins, 2008: 354) Based on the fact that Katniss and Peeta attracted suspicion from the president with their performance during the final moments of the Games, appearance and body image, along with pretenses regarding their personal lives, are used to distract official sources and win the public over. The deliberate application of innocent clothing, therefore, serves this purpose:

My hair’s loose, held back by a simple hairband. The makeup rounds and fills out the sharp angles of my face. A clear polish coats my nails. The sleeveless dress is gathered at my ribs, not my waist, largely eliminating any help the padding would have given my figure. The hem falls just to my knees. Without heels, you can see my true stature. I look, very simply, like a girl. A young one. Fourteen at the most. Innocent. Harmless. (Collins, 2008: 355) In addition to the innocent and simple clothing style Katniss is dressed in for her interview following her victory in the Hunger Games, her hair is done differently for the first time at

90 this point in the novel. With this both symbols, the resistance and her identity are preliminarily hidden from the public. Similar to the official and publicly held interview after the Games, the second one is also used to include innocent clothing that is intended to correspond with an innocent character. While Peeta is supposed to focus on the content of his answers, Katniss’ main task seems to be the maintenance of her newly established harmless reputation, as she is dressed “in a white, gauzy dress and pink shoes (Collins, 2008: 366)”.

As soon as her stay in the Capitol comes to an end, and the victory tour is about to start in her home district, the forced clothing style and expected beauty standards give way to

Katniss’ true personality. This is expressed through her individual appearance:

I excuse myself to change out of my dress and into a plain shirt and pants. As I slowly, thoroughly wash the makeup from my face and put my hair in its braid, I begin transforming back into myself. Katniss Everdeen. […] I stare into the mirror as I try to remember who I am and who I am not. (Collins, 2008: 370)

With the story progressing, the symbolism of clothing and references to Katniss’ appearance are expressed more clearly. Status and public expectance weigh considerably more than explicit associations with gender. Nevertheless, scenes related to clothes are exclusively mentioned with the female protagonist. Hence, the essential importance of appearance and body image are still based on the characters’ gender to a certain degree. While Catching Fire includes a number of sequences dedicated to the protagonist’s newly gained status of a victor who is a frequent subject to the public, they are mostly marked as humorous comments rather than serious opinions:

“Shouldn’t you look better?” he asks in a loud whisper. I can’t help smiling at his teasing, in spite of my mood. “Maybe a ribbon in your hair or something?” He flicks my braid with his hand and I brush him away. “Don’t worry. By the time they get through with me I’ll be unrecognizable,” I say. (Collins, 2009: 11) Similar to the first part of the trilogy, the characteristic hairstyle remains in the second book and is openly addressed by Katniss’ social environment. Due to the rapid progressing of the

91 story, Katniss’ apparel becomes less important in Catching Fire. Although the strong reference to her true personality as well as the trademark of resistance within the fictional world are still embodied by her hairstyle, which rarely changes, the meaning of appearance gains a new connotation. While The Hunger Games mentions style and beauty images mostly in association with female contestants of the Games due to their need to survive, the heavy involvement of the public becomes more visible as the story continues. Despite the references of public demand and pretenses made in order to draw attention from the audience, the inclusion of it gains considerably more significance regarding Katniss’ life after her victory:

Initially Cinna designed two dozen wedding gowns. Since then, there’s been the process of narrowing down the designs, creating the dresses and choosing the accessories. Apparently, in the Capitol, there were opportunities to vote for your favorites at each stage. […] Each shot is met with a huge reaction from the crowd. People screaming and cheering for their favorites, booing the ones they don’t like. Having voted, and probably bet on the winner, people are very invested in my wedding gown. It’s bizarre to watch when I think how I never even bothered to try one on before the cameras arrived. (Collins, 2009: 170) The intense public interest taken in Katniss’ wedding preparations, which mostly consist of her wedding dress and, therefore, her appearance, mirror the people’s fixation on looks. Due to the strong emphasis put on clothes and beauty images, the most used method to gain the audience’s favor is imitating character traits with the help of certain stereotypical looks. The fact that this strategic move continually succeeds with the broader public of the Capitol implies the persistent existence of the created necessity to sort and judge people, mainly females, by their outer appearance. Otherwise the fictional characters would not need make use of clothing in order to attract attention but would rather rely on their real personalities and skills. The emphasis on skills would also correspond with the reason of the annual Hunger

Games which is cannot be adequately compared with any event based on looks and beauty.

Hence, the continuing inclusion of different clothing and hairstyles proves the prejudices held against differing portrayals of femininity even in the least related causes.

Based on this, the costume and makeup applied to Katniss for public display prior to the participation in her second Hunger Games is more heavily used in order to send a message to the audience both in the arena where the ceremony is held and across Panem:

He puts up my hair first, in the braided style my mother introduced him to, then proceeds with my makeup. Last year he used little so that the audience would recognize me when I landed in the arena. But now my face is almost obscured by the dramatic highlights and dark shadows. High arching eyebrows, sharp cheekbones, smoldering eyes, deep purple lips. (Collins, 2009: 206) While Katniss’ looks are used to convince both the audience and suspicious officials of her innocence and girlish attitude, in Catching Fire her appearance is instrumentalized to convey strength and rebellion:

Katniss, the girl on fire, has left behind her flickering flames and bejeweled gowns and soft candlelight frocks. She is as deadly as fire itself. “I think … this is just what I needed to face the others,” I say. “Yes, I think your days of pink lipstick and ribbons are behind you,” says Cinna. (Collins, 2009: 207) Although the meaning of resistance is at first not clearly visible, in retrospect it serves the purpose of making a statement against the Games and the connected oppression. Hence, clothing is used based on certain stereotypes enforced by society but simultaneously functions as a tool to convey hidden messages. The essential significance carried by the protagonist’s differing outfits in the course of the novels is openly displayed during her interview in the preliminary stages of her second Hunger Games. Despite the fact that the symbolism of the

Mockingjay is not fully explained at this point in the story, the character’s outer appearance is used to notify others and indicate the beginning of resistance in the districts of Panem.

Following her performance the reader is also reminded of the meaning Katniss’ token of recognition has acquired throughout the country. Although Katniss is meant to reinforce the image of a woman being robbed of her wedding day, which suggests that her brightest future involves marriage rather than leading a revolution, hidden messages of rebellion are included in the dress. Through the Mockingjay style’s evolvement out of the protagonist’s wedding

93 dress the transformation does not only embody the resistance against the political and social system in Panem but also one against stereotypical images and norms imposed on women:

My voice trembles as I speak. “Only that I’m so sorry that you won’t get to be at my wedding … but I’m glad you at least get to see me in my dress. Isn’t it … just the most beautiful thing?” […] I begin to twirl slowly, raising the sleeves of my heavy gown above my head. When I hear the screams of the crowd, I think it’s because I must look stunning. Then I notice something is rising up around me. Smoke. From fire. Not the flickery stuff I wore last year in the chariot, but something much more real that devours my dress. […] Charred bits of black silk swirl into the air, and pearls clatter to the stage. […] I’m in a dress of the exact design of my wedding dress, only it’s the color of coal and made of tiny feathers. […] Clothed in black except for the white patches on my sleeves. Or should I say wings. Because Cinna has turned me into a mockingjay. (Collins, 2009: 251,252)

While appearance and clothing is used as a tool of hidden communication in Catching Fire and a method to pretend innocence as well as display female attributes in The Hunger Games, this aspect is accredited a different meaning in Mockingjay. In contrast to the adaptation of female stereotypes in the previous books, the last part of the trilogy focuses on conveying an image of strength and rebellion all embodied by the main character. Hence, Katniss is no longer expected to dress feminine as in swinging dresses of light colors or glamorous gowns but to represent a warrior in the districts revolution:

I open the cover to find a picture of myself, standing straight and strong, in a black uniform. The swoop of the helmet, the curve to the breastplate, the slight fullness of the sleeves that allows the white folds under the arms to show. […] I am again a mockingjay. […] “You’re going to be the best-dressed rebel in history,” says Gale with a smile. […] Plutarch and I have been talking about how on earth we can pull this off. We think that it might be best to build you, our rebel leader, from the outside … in. That is to say, let’s find the most stunning Mockingjay look possible, and then work your personality up to deserving it!” she says brightly. “You already have her uniform,” says Gayle. “Yes, but is she scarred and bloody? Is she glowing with the fire of rebellion? Just how grimy can we make her without disgusting people? At any rate, she has to be something. (Collins, 2010: 43,44) However, appearance plays a subordinated role in Mockingjay, since the main aspect of the book is shifted to the actual rebellion and the political systems behind both sides. Katniss’ looks are only directly referred to in the beginning of the third novel of the Hunger Games

94 trilogy, but paid little attention throughout the remaining story. The continual decline of significance regarding the protagonist’s clothing style implies that playing with stereotypical female body and beauty images is only useful as long as a broad audience and public has to be convinced and won over. Therefore, the existence of female norms in society is depicted as tool of pretense and propaganda. While it is taken into strategic planning within the frames of the story, it also highlights the prevailing gender norms and prejudices still persistent in society.

12.2. Relationship Structures

Love and relationships are recurring themes in the Hunger Games trilogy, although they are not regarded as main topics. The female protagonist is continually portrayed in conflict between the two male characters, Peeta and Gale. While Katniss develops her own emotions, love is also used as a tool of pretense, similar to appearance. Despite the female perspective that is shown in the novels, the stereotypical depiction of a young girl in love is not included in the story. While the reader is enabled to follow the main character’s thoughts on her private life, Peeta, as the male counterpart, initiates both the pretended as well as the real feelings towards Katniss. The portrayal of love and relationships in The Hunger Games, Catching Fire and Mockingjay is divided in what is told by the protagonist’s inner monologs as well as her actions and attitude towards the male characters and the altered description of affection in public occasions.

Although Katniss has feelings for her hunting partner Gale, these are not clearly mentioned as romantic affection in the first part of the trilogy. While her stand towards her emotions narrows down on the fact that they are present during her experiences in the Hunger Games and the following rebellion initiated by the districts of Panem, her relationship with Peeta is

95 omnipresent in her life. Despite the externally constructed love between the two participants of the Games, emotions develop also on the protagonist’s part. Nevertheless, the attraction that is felt is not created by the pretense of being in love but rather connects to Katniss’ first encounter with her fellow tribute. Hence, the image of a love-struck young girl and her object of desire are not forced on the characters by public but reminds them of their existing attraction to each other. However, Katniss is not able to consciously distinguish these factors and chooses to engage into the role she thinks she is playing for the audience. With this, she shields herself from her own emotions and tries to put her feelings in the background. Based on this action the aspect of love and the created love triangle is turned into a recurring theme.

Since the protagonist is continually confronted with her past and present as well as the pretended relationship with Peeta throughout the three books, the focus on her love life remains one of the more present ones in the story.

In the beginning of The Hunger Games the main character is portrayed as emotionally attached to her hunting partner but not involved in a romantic relationship. However, she is not always comfortable with thinking of Gale as someone else’s partner, which implies a denial of her feelings as well as the incapability or unwillingness to define them. In contrast to

Katniss’ inner turmoil as described in later parts of the story, her initial relationship focuses on friendship and brotherly love rather than deeper emotions which is stated in the beginning of The Hunger Games as Gale suggests to leave District 12:

The conversation feels all wrong. Leave? […] And even if we did … even if we did … where did this stuff about having kids come from? There’s never been anything romantic between Gale and me. When we met, I was a skinny twelve-year-old, and although he was only two years older, he already looked like a man. (Collins, 2008: 10) Since Gale is the only male contact in Katniss’ age, it is not immediately visible how she reacts to emotional closeness outside her own family. As soon as Peeta is introduced to the story, her detachment is recognizable. Despite his attempts to convince the main character of his non-existent intention to fight her in the Games she remains skeptical and suspicious. 96

Katniss continues with this pattern of rejection and emotional reticence through the role of a so-called star-crossed lover which she is allocated. Prior to the interview in which Peeta informs the audience about his love for his female rival, the protagonist already reflects on her relationships without including explicitly named romantic feelings:

I can’t help comparing what I have with Gale with what I’m pretending to have with Peeta. How I never question Gale’s motives while I do nothing but doubt the latter’s. It’s not fair comparison really. Gale and I were thrown together by a mutual need to survive. Peeta and I know the other’s survival means our own death. How do you sidestep that? (Collins, 2008: 112) The forced friendship with her fellow tribute, which is also constructed for the audience’s sake, is already threatening her emotional withdrawal from everything unfamiliar. Since

Katniss mostly shields her true thoughts and feelings from her social environment, she is not included in the initial phase of strategic planning in regards of her relationship status. Due to this her surprised but honest reaction to Peeta’s confession during the interview before the

Games is induced in order to spark passion, sympathy and affection among the public:

For a moment, the cameras hold on Peeta’s eyes as what he says sinks in. Then I can see my face, mouth half open in a mix of surprise and protest, magnified on every screen as I realize, Me! He means me! I press my lips together and stare at the floor, hoping this will conceal the emotions starting to boil up inside of me. […] The crowd is murmuring in agreement, a few have even given agonized cries. […] I allow my eyes to flicker up to the screen long enough to see that the blush on my cheeks is unmistakable. (Collins, 2008: 133) Despite the anger rising up inside Katniss, the surprise of being displayed as desirable causes the strong reaction, viewed as unusual for her character. The protagonist’s public image is changed to a person being loved by her selected rival and, therefore, connotated with soft emotions, contradicting her harsh and condemning attitude visible throughout the training and reaping process in The Hunger Games. Her biggest concerns, however, are not related to the rumors spread by Peeta’s interview but her loss of strength in public opinion. The pretense of being in love is expected to trigger similar reactions from the audience, which implies the necessity to create an image of desire and availability in order to attract possible donors who

97 can help keeping the candidate alive in the Games. Since Katniss character is mostly marked by strength and emotional distance, this new perception of her person contradicts with her principles:

‘He made me look weak!” I say. “He made you look desirable! And let’s face it, you can use all the help you can get in that department. You were about as romantic as dirt until he said he wanted you. Now they all do. You’re all they’re talking about. The star- crossed lovers from District Twelve!” says Haymitch. “But we’re not star-crossed lovers!” I say. Haymitch grabs my shoulders and pins me against the wall. “Who cares? It’s all a big show. It’s all how you’re perceived. The most I could say about you after your interview was that you were nice enough, although that in itself was a small miracle. Now I can say you’re a heartbreaker. Oh, oh, oh, how the boys back home fall longingly at your feet. Which do you think will get you more sponsors?’ (Collins, 2008: 135)

In the course of the first novel, the female main character’s thoughts continually circle around her private life and the turns it has taken since her first appearance in public. Although the interview in which Peeta confesses his love in front of the audience present and those watching it on television, is not always addressed directly, it is closely connected to the performance. While Gale and his meaning as friend and hunting partner are often discussed at the beginning, Peeta takes his position during the Games. Katniss is concerned about Gale’s reaction to and opinion on her publicized and invented love life but starts to reflect on her actual relationship with her fellow tribute: “I wonder what Gale made of the incident for a moment and then I push the whole thing out of my mind because for some reason Gale and

Peeta do not coexist well together in my thoughts” (Collins, 2008: 197). The inability to connect the two male characters in Katniss social environment to each other, or for her to be able to simultaneously think about both indicates emotional conflict. This conflict is triggered by her public appearance during the interview prior to the Games and inflamed by the character’s own history of emotional detachment. Since she tries to convince herself about the sheer logical and realistic benefits that would come with each day her male companion survives in the arena, her unwillingness to consider the effects of the initiated love story

98 between her and Peeta overweighs in the beginning of the Hunger Games: “I’m relieved

Peeta’s alive. I tell myself again that if I get killed, his winning will benefit my mother and

Prim the most. This is what I tell myself to explain the conflicting emotions that arise when I think of Peeta” (Collins, 2008: 157). The pressure put on her by her mentor and companion which involves her entire public life hinders a real confrontation with her emotions. This situation is only made worse by her previous unwillingness to think about her love life and possible romantic relationships. By forcing her to take on a role she has never experienced before, nor invested much thought in, her own interests are momentarily put in the background and flooded with impressions tailored for the public and linked to her aspired survival.

While Peeta does not play a mere role in the pretended romantic interest in Katniss, she is incapable of realizing it and explains his behavior during the Games with the only reason she accepts, namely their fight for survival. Due to the crucial connection between their chance for survival and the invented love interest, she begins to view her relationship with Peeta humorously and with the profession of an actress, as this is what she believes to be when she is seen with her fellow tribute:

“No, Peeta, I don’t even want to discuss it,” I say, placing my fingers on his lips to quiet him. “But I –“ he insists. Impulsively I lean forward and kiss him, stopping his words. This is probably overdue anyway since he’s right, we are supposed to be madly in love. (Collins, 2008: 260) Based on Katniss’ conviction of both her and Peeta being forced to play their parts in a love story invented by their mentor, in order to raise their chances to make it out of the Hunger

Games, she is able to avoid deeper thoughts on her real opinion on her private life. Moreover, she is not capable of realizing true affection paid to her person until the end of The Hunger

Games. This suggests an emotional distance that is not only kept to others but even to herself as the protagonist does not feel desirable. Additionally, her inexperience with partnerships

99 and love show the lack of thoughts spent on the issue before entering the Games. The recurring pattern in Katniss’ actions and attempted signs of affections prove her difficulties with emotional closeness. Despite the factor of being watched by a major audience, the character struggles with each step, also in unattended moments and inner monologs. Another aspect supporting the claim of inexperience and a lack of comfortability is the protagonist’s fixation with role models. She is not able to take actions based on her own emotions, as she refuses to confront herself with them throughout the course of the story, but rather seeks advice from witnessed acts of kindness and affection between couples. Since, prior to her father’s death, her parents embody the most perfect image of love, Katniss frequently tries to imitate their behavior and transfers it to her treatment of Peeta:

Never having been in love, this is going to be a real trick. I think of my parents. The way my father never failed to bring her gifts from the woods. The way my mother’s face would light up at the sound of his boots at the door. The way she almost stopped living when he died. “Peeta!” I say, trying for the special tone that my mother used only with my father. […] Then he smiles as if he’d be happy to lie there gazing at me forever. He’s great at this stuff. (Collins, 2008: 261) Due to her own inability to rely on her feelings she also assumes her companion copies a loving couple from his social environment instead of developing emotions of his own:

Oh, right, the whole romance thing. I reach out to touch his cheek and he catches my hand and presses it against his lips. I remember my father doing this very thing to my mother and I wonder where Peeta picked it up. Surely not from his father and the witch. (Collins, 2008: 264) The first sign of reflection regarding the female protagonist’s feelings appears only after an established closeness to Peeta and the strengthened will to survive the Hunger Games together. It is also visible after Katniss’ first kiss and during the formulation of concern about the perception of her acted romantic interest in her fellow tribute:

Gale’s not my boyfriend, but would he be, if I opened that door? He talked about us running away together. Was that just a practical calculation of our chances of survival away from the district? Or something more? I wonder what he makes of all this kissing. (Collins, 2008: 280)

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Hence, Katniss is not able to directly think about which emotions are involved in the part she plays in her relationship with Peeta but approaches the topic through taking her hunting partner’s perspective. With this she tries to take an uninvolved outsider’s position in order to eventually learn about her own stand in this constellation.

In addition to her own hardships with love and showing affection, the main character is constantly distracted in the process of reflection not only by the need to stay alive but also the awareness of being tentatively watched by a considerable number of people. This continuing attention and omnipresence of strangers interested in her most intimate and private moments represents a hindering factor in both self-identification as well as realization and acceptance of emotions:

And while I was talking, the idea of actually losing Peeta hit me again and I realized how much I don’t want him to die. And it’s not about the sponsors. And it’s not about what will happen back home. And it’s not just that I don’t want to be alone. It’s him. I do not want to lose the boy with the bread. […] I wish I could pull the shutters closed, blocking out this moment from the prying eyes of Panem. Even if it means losing food. Whatever I’m feeling, it’s no one’s business but mine. (Collins, 2008: 297,298) Although Katniss is not able to define and articulate what she feels at this point in the story, realizes that not everything she does in her role as love-struck teenager serves the mere purpose of surviving. In that matter, society prevents the female character from developing.

The negative influence the public involvement and initiation of her love life has on its eventual realization are not only visible in her search for imitable role models but also the description of feelings and the protagonist’s difficulties in categorizing them according to their meaning. The combination of her own habit of emotional detachment and the impact of the public broadcast of her invented romantic relationship interferes with her natural developmental processes and the establishment of love interests. This assumption is supported

101 by her reaction to closeness immediately after her realization of the existence of intimacy between her and her fellow tribute:

This is the first kiss that we’re both fully aware of. Neither of us hobbled by sickness or pain or simply unconscious. Our lips neither burning with fever or icy cold. This is the first kiss where I actually feel stirring inside my chest. Warm and curious. This is the first kiss that makes me want another. (Collins, 2008: 298) The conflicting feelings that manifest after Katniss’ discovery of an emotional bond between her and Peeta are rooted within her unsolved past and present. Since she is never depicted as thinking seriously about possible relationships, or her own attractivity as perceived by others, the opportunity of romantic interest in her hunting partner is widely excluded in the first part of the story. The underlying uncertainty about existing but suppressed feelings for Gale’s character trigger and impact her withdrawal from any lasting promises to herself or Peeta:

Who will he transform into if we make it home? This perplexing, good-natured boy who can spin out lies so convincingly the whole of Panem believes him to be hopelessly in love with me, and I’ll admit it, there are moments when he makes it believe myself? At least, we’ll be friends, I think. Nothing will change the fact that we’ve saved each other’s lives in here. And beyond that, he will always be the boy with the bread. Good friends. Anything beyond that though … and I feel Gale’s gray eyes watching me watching Peeta, all the way from District 12. (Collins, 2008: 311) As in the beginning of the Hunger Games, Katniss’ confusion regarding her feelings and possible romantic interests are continually shaken by the persistent influence and intrusion of the public. While convincing the audience of the Games of her relationship with Peeta presents the most significant priority during the time in the arena, this intention is extended with the necessity to include the political components in this pretense at the end of the first part of the trilogy. The slow recognition of true affection and the questioning of its meaning and extent are brought to a sudden halt with the threats coming from the political top of

Panem. Hence, what the protagonist believed to sense within herself is put in the background as the reminders of the remaining life threatening situation reinforces her conviction that both she and Peeta are forced to pretend affection rather than use what already exists.

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While The Hunger Games includes a variety of scenes thematizing Katniss’ inexperience in love and her resistance from thinking about engaging in a romantic relationship as well as her surprise and confusion triggered by the seemingly invented love between her and Peeta, the sequels Catching Fire and Mockingjay mainly focus on social issues and aspects of a dystopian society. Although both books feature the progressing story of Katniss and the two male characters belonging to the existing love triangle, its essential significance decreases during the descriptions of the uprising and rebellion. The main character’s strong emotional bonding with Peeta during both the first and particularly second Hunger Games serves as basis for her efforts to save him. Additionally, her attitude towards love and her personal life changes in the aftermath of her second participation in the Games and allows the character to accept her feelings for her companion. Moreover, the positions as held in the first and second book are revised in the third one. With Peeta suffering from the torture he experiences in the aftermath of his second Hunger Games his mind is not fully recovered when Katniss is reintroduced to him. Based on the lack of affection towards the protagonist, she is forced to reflect on her own feelings and the importance of regaining Peeta’s love. Therefore, she is only fully able to accept and give affection at the point where she is threatened to lose her status of being loved and stop receiving it herself. Along with her personality, which is shaped and impacted by strength and the will to fight, she is now able to combine her character traits with her innermost emotions to reconnect with a character who is important to her.

In general, the female main character suffers no harmful treatment caused by a partner or relationship. While outer influences hinder and slow down certain decisions and discoveries, no physical or verbal violence can be found in Katniss’ actual relations and romantic interests.

In contrast to her own difficulties in accepting her feelings and making decisions about them, the two male characters in question are described as mostly patient and good-natured as they mainly wait for the female protagonist to gain clarification regarding her love life. Despite

103 their mutual feelings towards Katniss, there is hardly any pressure put on her throughout the main course of the three novels. Additionally, none of them is portrayed taking active interest in other female characters in the story. In regards of relationships, Katniss is given the opportunity to reflect on the possibility of love as well as her choice and compare the difference in her emotional bonds.

Despite the nonexistent harm and violence in the main character’s relationships, the situation surrounding them, representing the society through the general public and political institutions and systems through President Snow and the dystopian environment, imposes a considerable negative influence. Therefore, the relationships and everyone directly involved in them does not embody a threat for Katniss’ wellbeing and safety, while the expectations, demands and pressure put on her by external forces do. Acknowledging that the love between Katniss and

Peeta is installed for the audience by their mentor, the preconditions for the widespread effects it results in are already present in society. On the one hand, the strategy aims at the emotional sides of the general public watching the Hunger Games, on the other hand it connects with the desire of placing people in relationships and describing female and male characters as desirable and loved. Based on Katniss’ rather harsh and distanced public appearance, a generally male character trait is linked with one generally corresponding with a stereotypical image of femininity. The considerably strong impact these circumstances have on the protagonist is also detectable in her emotional and mental state as described in the trilogy.

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12.3. Emotional and Mental Description

In terms of Katniss’ emotional and mental description in the trilogy, her inner monologs represent her true conflicts and status while the actions she takes mainly serve the cause of pretense. Although her doubts and convictions remain in Catching Fire and Mockingjay, the reader learns most about her personality, strengths and fears in The Hunger Games.

One of the most essential aspects in the protagonist’s innermost life is her family and the responsibility she feels regarding her little sister, Prim. Due to the father’s death and her mother’s resulting depression, Katniss takes on the weight of feeding the family and indirectly raising her sister. Apart from the task to replace the adults in the family, she strongly feels responsible for Prim’s safety, a factor that is continually woven into the story until the end.

Further than the decision to spare Prim from her participation in the Hunger Games by taking her place, she remains on the main character’s mind throughout her experiences in the arena as well as before and after them. In case of her family and the few other people close to her, the protagonist’s actions do not represent an illusion for the public but correspond with her innermost feelings and dedication. Moreover, this is the only factor that triggers her will to survive and fight in the beginning. It is also the overweighing reason for the justification of rebellion before she discovers an emotional bond to and responsibility for Peeta. Whenever the danger her family is put in is thematized in the story, the descriptions of Katniss’ reactions are coined by anxiety, fear, hope, guilt and anger. While guilt and anger are mostly added at later points in the trilogy, her emotions in the first book are led by fear:

One time, when I was in a blind in a tree, waiting motionless for game to wander by, I dozed off and fell ten feet to the ground, landing on my back. It was as if the impact had knocked every wisp of air from my lungs, and I lay there struggling to inhale, to exhale, to do something. That’s how I feel now, trying to remember how to breathe, unable to speak, totally stunned as the name bounces around inside my skull. […] “Prim!” The

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strangled cry comes out of my throat, and my muscles begin to move again. “Prim!” […] With one sweep of my arm, I push her behind me. “I volunteer!” I gasp. “I volunteer as tribute!” (Collins, 2008: 21,22) Hence, the fear for her closest and beloved relatives causes the strength that characterizes the female protagonist’s personality and the way she is perceived. Despite the power that she gains because of her strong desire to safe her sister, the omnipresent fear inside Katniss is frequently used as a tool to control and distract her, particularly after her victory and during the second participation in the Hunger Games.

An aspect related to her fear for her family but not exclusively bound to it is the character’s omnipresent suspicion and distrust. While this attitude is justified at certain points in the novels and explained as side effect of living in a dystopian world, it sometimes also functions as safety shield in personal relationships. Although Katniss is initially led by her positive memories of Peeta when he is chosen as tribute, she immediately reminds herself of the situation she is in which results in emotional detachment and withdrawal. Since she maintains this attitude during the training and strategic sessions as well as during the majority of time spent in the arena, her strong will to prevent the creation of an image of weakness attributed to her overweighs. In addition to her refusal to show any sign of weakness and distrust of other people, she also distrusts her own judgement and ability to emotionally distance herself.

This is visibly depicted in her reaction accompanied by the realization of Peeta’s motives behind his kind behavior:

It's because he’s being kind. Just as he was kind to give me the bread. The idea pulls me short. A kind Peeta Mellark is far more dangerous to me than an unkind one. Kind people have a way of working their way inside me and rooting there. And I can’t let Peeta do this. Not where we’re going. So I decide, from this moment on, to have as little as possible to do with the baker’s son. (Collins, 2008: 49) Hence, Katniss’ constant inner battle between her feelings for certain people and the responsibility and frequently linked relativism visible in many of her decisions clouds her reactions at some points. Moreover, the conflicting emotions affect her mental state during the

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Games but also in between her first and second participation. Although the protagonist joins the rebellion in the end of Catching Fire mostly because of personal emotions, her mental wellbeing suffers at times, particularly in scenes featuring the rescued but changed Peeta. Due to the strong desire and the efforts to cure her companion and remind him of his former feelings as well as recreate his personality, which is generally perceived and described as kind and caring, Katniss’ emotional focus is set mostly on him during the operations in the districts. Despite the distracting nature of her fixation with personal feelings and the securing of people belonging to her closest social environment, the main character is also mentally dedicated to the cause of the rebellion in Mockingjay. Although this part of the story is one of the most significant ones in terms of her mental state and self-reflection, some essential moments are also depicted in the first two books of the trilogy.

While Katniss’ emotions are closely tied to her mental depiction and inner monologs throughout the story, the way she sees herself and her ability to survive and change the political system of her country is sometimes also separately portrayed. In the course of the novels, the main character is developing from being mentally insecure and unaware of her power to self-conscious and a leading figure representing the will to improve and end inhuman forces in Panem’s political landscape. Although she is not weak in a narrower sense of meaning, the protagonist is insecure when it comes to certain aspects such as personal relationships as well as her qualities as savior of her people and skilled fighter in the same cause. In that matter, she eventually grows into her role of a heroine in order to put an end to the Hunger Games and the suppression of the districts accompanied by them.

However, during this phase of development and advancement the reader is educated about the protagonist’s doubts and fears related to her skills and personality. In the light of the role she takes on within her family, which is characterized by responsibility, Katniss is portrayed as self-conscious of her value to her mother and sister as well as parts of her home district.

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The hunting skills as learned from her father are viewed as her trademark by both her social environment but also by herself. Nevertheless, she is not entirely convinced about the quality of her trademark skill as a means of survival for her participation in the Hunger Games. The necessity to find anything edible to feed her family is the drive behind her daily practice with the bow but, according to her initial opinion, not appropriate to rely on for survival. The belief in her thoroughly self-trained skill and its adapted function as tool of defense against potential murderers in the arena of the Hunger Games is established during the practice sessions in the preliminary stages of the event.

Despite the character’s associated strength and determination, her emotional and mental state in the course of the novels, particularly in the first part of the trilogy, thematize the pressure put upon her as well as the struggle she faces with the image she conveys to the public. Her convictions, beliefs and rebellious attitude she develops throughout the story add to Katniss’ stress and result in emotional drain. While her doubts and feelings of inferiority can be explained as natural in the situation of a heroine in a dystopian environment, it also resembles a pattern applicable on females in society. Hence, the depicted double burden the protagonist is confronted with, namely her desire to safe her beloved ones and the determination to change the political system without endangering her family and friends while simultaneously resisting another ideology she finds herself caught in can be transitioned to family life and work related securities. Apart from this point of view, Katniss is continually forced into roles by the population of Panem, the president of the country and the rebellion of

District 13. This contributes to her stress level and self-doubts and increases her inner monologs shaped by worries. In addition to her partially self-inflicted fears and lacking self- esteem, doubts about her person regarding the relationship with Peeta and their initial difficulties caused by the game of pretense played during the first Hunger Games also impact her emotional and mental wellbeing. Similar to the lack of recognition of her own skills this

108 factor decreases as the story proceeds. All of these aspects, however, influence and simultaneously are influenced by the role distribution and the different functions the protagonist holds.

12.4. Social Role in the Fictional World

The protagonist’s role in the fictional society changes in the course of the story. While

Katniss is introduced as average but strong, sensible character and inhabitant of Panem, carrying a considerable degree of responsibility in the beginning, she advances to a rebel leader and a symbol of freedom during her participation in the Hunger Games. In addition to the image of revolution, she is used as an embodiment of female power and resistance. At later point in the story she also functions as connection between different characters and switches between diverse positions within the social system of Panem but also among her own social environment.

The most striking social role attributed to the main character is the one of the savior and heroine. Although she is not introduced with it, the function of putting an end to the dystopian system practiced in Panem becomes Katniss’ universal sign of recognition. The protagonist shows interest in resistance after being forced to take part in the Games but mainly develops her passion for the cause after winning them and being threatened with the loss of her family as well as her own life. However, Katniss is not engaged as deeply in the efforts as she is used by those who initiated the revolution in the first place to represent them and their strategies.

Despite her personal interest in preventing the leader and political system of Panem from recurrently intervening in her life and endangering her and her family’s safety, she is not granted as much freedom of choice as she wants. The main character succeeds in regaining

109 her free will during the rebellion in Mockingjay although only to certain extents at first.

Nevertheless, Katniss is mostly used as a public symbol of uprising and, therefore, functions as advertisement rather than sharing and proposing her own suggestions, opinions and thoughts that are capable of sparking unrest and among the population of the districts:

“I sit patiently through the rest of the paint job and don my costume, which now includes a bloody bandage over the scar on my arm to indicate I’ve been in recent combat. Venia affixes my mockingjay pin over my heart. I take up my bow and the sheath of normal arrows that Beetee made, knowing they would never let me walk around with the loaded ones. Then we’re on the soundstage, where I seem to stand for hours while they adjust makeup and lightening and smoke levels. Eventually, the commands coming via intercom from the invisible people in the mysterious glassed-in booth become fewer and fewer. Fulvia and Plutarch spend more time studying and less time adjusting me. Finally, there’s quiet on the set. For a full five minutes I am simply considered. Then Plutarch says. “I think that does it.” […] Everyone’s so excited, so pleased with their work. It’s nearly time to break for dinner, but they insist we continue. Tomorrow we’ll focus on speeches and interviews and have me pretend to be in rebel battles. Today they want just one slogan, just one line that they can work into a short propo to show to Coin.” (Collins, 2010: 70, 71) Hence, the social role the female protagonist is most known for within the fictional world is constructed for her and even restricts and suppresses her own efforts more than it corresponds with her personality and free will.

Although a considerable part of Katniss’ role as rebel leader is imposed on her for public display, the character takes her own position in the matter prior to the revolution as it is constructed by District 13. In contrast to her later enforced priority of being a poster model for an operation being done without her intervention, the protagonist’s initial engagement and passion are dedicated to prevent her loved ones from being endangered and hurt. While her freedom to act the way she wants to is restricted and rather limited after joining the official rebel forces in Mockingjay, her own strategy does not include mere propaganda instead of participation. Katniss’ active engagement in improving living standards and saving lives in the districts is recognized and approved by the population before she considers this role for herself. Despite her personal interest in changing Panem’s political and social system, the role

110 of a rebel leader and symbol of freedom is mostly suggested by the public and only taken on by the protagonist at a later stage. Based on this, she embodies a desire for change and the hope to achieve this goal without the drive to lead the country towards it, but is forced into the position by both the majority of the population and a rivaling political ideology. The public display is therefore created by invisible forces in need of a public figure who functions as testimonial. Due to Katniss’ personal convictions and interests, she adopts the role imposed on her and uses it for her own purposes in the end. This illustrates the regaining of her free will and own personality which is characterized by strength and active participation.

In addition to the protagonist’s public role and her most significant position in the trilogy, she holds several other roles, which are mainly restricted to her closest personal environment.

The most essential one in this matter is Katniss’ role within the family. Since her father is deceased and her mother suffers from depression following his accident, she is forced to claim the role of the head of the family in order to feed everyone and look after her younger sister.

Due to a constant lack of food and strict regulations concerning its distribution among the population of the district, the main character is led to illegal hunting outside of District 12.

While the skills acquired through the necessity to survive are helpful during her fight in the

Games, the action of hunting is typically and traditionally associated with male attributes rather than female ones. This symbolism, combined with Katniss’ claimed position as head of the family, both replacing the character of her father as well as reversing the traditional role model of the nuclear family, the protagonist is portrayed in connection with several essentially male connotations. Based on these, the female main character takes on a position characterized by strength, power and respect. Due to her status of a young female, the role is adapted according to the situation but notwithstanding symbolizes a deterioration from the generally associated role of women and girls within the family. Furthermore, the role Katniss

111 is accredited in her family is also basis to her public appearances as reclaimed by herself in the end of the trilogy.

An aspect frequently associated with Katniss’ role of responsibility and her self-accustomed position as her family’s as well as her closest friends’ safeguard is guilt. While it is not directly visible in The Hunger Games as often, Catching Fire and Mockingjay include it as one of the major reasons for maintaining the portrayal of a self-directed savior. In contrast to the initial force behind the main character’s actions, which roots in the critical questioning of her country’s ideological system as well as the fear of seeing the people closest to her being hurt by it, her later conviction regarding the necessity of change is closely tied to the growing feeling if guilt. Although it already exists during the preparations for her forced wedding and the following second participation in the Hunger Games, these feelings and thoughts overweigh most other reasons for Katniss’ decision to take part in the rebellion once she learns about the destruction of her home district. Despite the fact that this is described as an act of retribution and a sign of power distribution, the guilt also corresponds with the protagonist’s primarily desire to safe the people she might endanger with her actions and who might face consequences by the political system of Pamen.

Based on the different factors contributing to the main character’s role within the fictional society, her position remains the same but the reasons for taking it on vary according to the threat and the persons affected by it. Although Katniss’ motives serve her own safety at times, the main trigger for her decision to mime and, at a later stage in the story, be the leader of the constructed rebellion evolves out of altruistic manners. Hence, the female protagonist who is placed in the story as heroic figure fits into the image of the safeguard and fighter who puts the wellbeing of the majority, and her closest relationships, over her own. However, the acceptance of this role requires the young woman to undergo several processes in the development of her character in order to fulfill her tasks with the necessary self-confidence.

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12.5. Character Development

Throughout the three novels of the Hunger Games trilogy, the female protagonist is portrayed in different situations demanding different roles, reactions and attitudes that also affect her own character development. Katniss starts out as tough, reveals weaknesses in the course of the story, and eventually advances to the heroic figure she is portrayed as by the rebellious groups of District 13. Despite her initial depiction as a strong character, she gains a lot of power and strength as she is actively confronted with herself and the political environment she is victimized by.

While a considerable degree of Katniss’ development is connected to inner feelings and attitudes, these are mostly preceded by outer influences caused by the dystopian system of

Panem. Firstly, her forced volunteering and resulting participation in the Hunger Games causes the initial change of thoughts regarding her position in the current political ideology reigning over the districts. Although the protagonist is exteriorly self-confident and does not let any negative assumptions or rumors concerning her qualities in fighting and surviving spread, she is not convinced about it herself. This, however, is battled within herself and not carried to the outside for other characters to witness. Following this trigger event, the second factor in the main character’s development is her actual participation in the Games and the experiences she makes during her stay in the arena. The witness of Rue’s death, who becomes an ally to Katniss earlier in the story, functions as one of the main aspects in this phase of her character development since she then consciously resolves on fighting against a system that sacrifices children for the sake of power. Additionally, her reconnection with Peeta, although at first thought to serve the purpose of keeping them alive through pretending to be in love, contributes to her change of attitude and her growing conviction about and dedication to the

113 necessity of stopping the Hunger Games. Thirdly, the repercussions to which her and Peeta’s victory in the Games leads causes the protagonist to further question the political system and her chances of personal freedom as well as her beloved one’s safety. Despite the importance of the initial reaction points in Katniss’ character development, the experiences after her first appearance in the Games are essential for the later turns in the story since she realizes the danger she and her family and friends live in. According to this, she gains her growing self- consciousness and determination as well as her belief in her abilities and skills from her persecution following her victory. With this key point the character changes from one accredited with strength but secretly doubting it to one who learns to actively use her image and trust herself rather than being afraid of failing.

In addition to the outer influences essentially involved in the protagonist’s character development, her inner feelings and reactions connected to her emotional states in the course of the novels are of considerably high significance. While these developments are linked to her emotional wellbeing and the portrayal of her inner conflicts, the exterior factors also play a key role in the chain reaction caused by Katniss’ developmental processes. Although the changing life situations the main character is confronted with take a major influence on the alteration of her way of thinking, her attitude towards her own life and the system it is caught in, it functions as a trigger but not as an exclusive cause. However, the pressure Katniss puts herself under after realizing the importance of keeping her beloved ones alive and abolishing the practice of sacrificing and victimizing her country leads to the alteration of her character which ultimately influences not only the fictional figure’s individual portrayal but also the depiction of women woven into the story. Since the initial description of Katniss grounds on strength and responsibility but, as revealed as the story progresses, self-doubts, the chain reaction triggered by her forced volunteering for the Hunger Games and the experiences she

114 makes in the arena affects her character development in a way adequate to the acceptance of the role allocated to her and the image of femininity represented by her presence.

The inner developments, closely tied to the trigger events unfolding around the main character do have an effect on her behavior, attitude and actions in the second and third book of the trilogy as she advances to a powerful position she would not consider for herself in the beginning of The Hunger Games. Hence, the developmental processes taking place throughout the novels leads Katniss to the person she is described as from the start and which she mimes in public. The main effect the character development has in her case therefore is the process of gaining self-esteem and self-consciousness in order to authentically live the image of a female heroine the character embodies.

12.6. Female Supporting Characters

While Katniss is the main character in the The Hunger Games trilogy, several other female figures appear in the story who depict and convey certain images of femininity and behavioral patterns attributed to women in society. The most essential ones in terms of their recurring appearance in the novels are Katniss’ mother, her sister Primrose and Effie Trinket. Although the latter one is not examined in closer detail in the chapter, she is important to the story and therefore included as female supporting character.

Since Katniss’ mother and sister are two of the figures most important to her, they are most frequently mentioned in the novels and therefore present the biggest source of information regarding the portrayal of female supporting characters. Both Primrose and her mother are healers in profession. Although Primrose is only in training for the most time of the story, she is characterized by her caring nature and the great interest she takes in medicine. With this

115 focus, the protagonist’s closest female relatives take opposite positions to her own as far as the attribution of gendered characteristics is concerned. While Katniss is depicted as female character with traditionally male connotated attributes, Primrose and her mother represent a classically female considered image of skills rooting in the frequent depiction of the benevolent nature of a woman and the task to heal other, typically using herbal extracts.

Despite the use of other medication, the focus on natural ingredients corresponds with the image of the female healer.

While the main character’s mother obtains the profession of an unauthorized local doctor and healer, her sister Primrose is not only being trained in the same field to cure wounded human beings, she also shows a considerably high degree of affection for animals. The love for her goat, although a necessity for the acquisition of milk, and her cat convey an image of animal love often typically associated with the female gender. In addition to her medical skills and interests, this is a further distinction between Primrose and the protagonist. Along with the characterization of a healer and the caring attitude attributed to her, Prim embodies a traditionally associated image of young girls and women in terms of preferences, nature and profession prospects. However, the image of femininity constructed by this does not exclusively contradict her self-directed attitude. Although the character is shaped by descriptions traditionally used to construct and depict generalized female characters, Prim’s attitude and convictions lead her to self-consciousness, confidence and self-directedness.

Therefore, the character traits used in patterns to describe women and girls is partially present but combined with self-emancipation that creates a modern, yet contradicting image of femininity when it comes to the female protagonist of the story.

Effie Trinket resembles neither Katniss, nor her mother or sister regarding the image of femininity. In contrast to Primrose’s trademark of healing and her caring nature, Effie represents a female character heavily involved in fashion and caught in a system that

116 oppresses her, similar to several other characters in the trilogy. While the focus on her appearance corresponds with the lifestyle of others living in the Capitol, it also implies the use of another prevailing image of women, based on the overuse of clothes, makeup and other styling tools described in the texts. Because her character is pictured as superficial and shallow, hence the opposite of critical thinking and rebellious behavior, from the surface it seems as though she approves of all the aspects she is familiar with and that are woven into the current system. It also suggests that her priorities are solemnly set on her looks rather than the population’s living circumstances and the role she plays in the systematic destruction of families. Small clues placed in the storyline refer to her differing way of thinking and her altered personality. Although Effie does not actively intervene in the process of the Games but openly supports it by being a member of the tributes’ teams until they enter the arena, and therefore working on the inside of the system, she shows small signs of approval regarding

Katniss’ rebellious attitude at later stages in the story. With this she rebels against the image her character embodies, also the image of femininity, but does it without public notice. This makes her seem to conform to what she represents for the major part of the Hunger Games trilogy.

Based on the descriptions of the three female supporting characters surrounding the protagonist, all of them function as contradicting figures regarding the portrayal of women.

However, Primrose, her mother and Effie Trinket seem to embody stereotypical picturizations of femininity grounding on the use of frequently as feminine connotated attributes but also hold their own degree of inner strength and determination as well as their own, also critical, opinions. Therefore, Katniss’ counterparts in terms of female depiction serve the purpose of displaying diverse characters but also include the contemporary demand for strong and powerful women in literature, although sometimes veiled by stereotypical descriptions and character traits.

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13. Divergent

The Divergent trilogy follows the changing life situations of the female protagonist

Beatrice, mostly referred to as Tris, and the burdens she is confronted with. While there are three main novels out of which the series consists, the fourth installment to it contains no further developments to the story but reflects on events told in Divergent, Insurgent and

Allegiant using the male voice of narrations embodied by Tobias, also known as Four. The main content displayed in the trilogy is connected to the realization of the prevailing dystopian system practiced in the characters’ hometown and the dissolution of it. The core focus within the system is the division in the five factions of Erudite, Amity, Condor,

Dauntless and Abnegation. These are built on the grounds of skills and character traits that form the fictional figures’ personalities. As it is only possible to belong to one of the factions and therefore be categorized under one personality feature, the dystopian society is separated by knowledge and science as found in Erudite, farming and peacefulness as portrayed by

Amity, honesty and directness depicted by Condor, bravery and safekeeping as originally practiced in Dauntless and humbleness and altruism represented by Abnegation. Beatrice does not conform to this structure since her abilities show several skills and personality traits which makes her Divergent. In addition to learning about her difference and keeping it hidden from her social environment due to the danger it poses, the protagonist is also allocated the task of ultimately saving her closest ties and her hometown from the experiment of a dystopian society they are caught in.

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13.1. Physical Appearance

Clothing and appearance play an important role in the Divergent trilogy, although it is not exclusively restricted to female characters. Based on the division created through the five factions, as established by the political system in Beatrice’s hometown, fashion and colors used in it are allocated to fixed groups within this society. Although distinctions are made according to gender among the respective faction, the colors are tied to them without exceptions. Based on this, Dauntless is attributed black, Condor dresses in black and white,

Abnegation uses grey, Amity is recognized through yellow and red, and Erudite is characterized by blue. Mixing colors is not permitted by any of the five factions but typically seen among a group of the dystopian society called factionless. Because members of the factionless do not belong to a faction any longer, there are no typical colors which means those affected by such a status live off of clothing donations that are collected throughout the town’s groups. Hence, this is the only factor in the trilogy representing a non-fixed clothing order which also ignores gender-related stereotypes and clichés.

Although the factions don’t distinguish between male and female clothing styles as strictly as they do in terms of the group’s trademark colors, there are slight differences among the

Abnegations. While their garment color ranges between different shades of grey, women are often portrayed wearing clothes similar to dresses although they do not resemble them in every detail. With this, an indirect reference is made to a separation by gender which is also mentioned in the opening scenes where the father takes on the position of the patriarch and is accredited control over the family at dinner. Although the limited choice of clothing does not directly interfere with the storyline as the main focus is put on the used colors that symbolize belonging to a certain group of people, in Abnegation’s case, particularly as described within

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Beatrice’s family in the beginning, the slight differences stand for an allocation of power.

Along with the father’s strong presence during family dinner, based on his speech while silence is expected, the protagonist’s brother also embodies a variation of male superiority:

Caleb gives me a warning look. We aren’t supposed to speak at the dinner table unless our parents ask us a direct question, and they usually don’t. Our listening ears are a gift to them, my father says. They give us their listening ears after dinner, in the family room. […] “Beatrice,” Caleb says quietly. I duck my head, turning my fork over and over and over until the warmth leaves my cheeks. I don’t like to be chastised. Especially by my brother. […] I shouldn’t speak again, but I can’t help myself. […] “Why don’t you take this opportunity to listen to your father, Beatrice?” my mother says gently. It is phrased like a suggestion, not a command. I look across the table at Caleb, who has that look of disapproval in his eyes. I stare at my peas. I am not sure I can live this life of obligation any longer. I am not good enough. (Roth, 2011: 34, 35) Despite the later change of this power distribution, the construct as it is established for society states an inequality between men and women which is already hinted at in the people’s apparel.

Due to the close connection between faction and clothing, the main character’s altering appearance mainly depends on her departure from Abnegation as well as her resulting character development and self-identification. Apart from the different clothes and the exchange of grey garments for black ones, Beatrice also takes on another appearance in terms of haircut and skin. While she does not cut her hair until the second book, Insurgent, the protagonist decides to get tattoos a short time after her arrival at Dauntless headquarters.

Based on the fact that such an act is closely tied to being a member of this faction, her changing sense of identity seems to be the major reason for this step. However, neither the black clothes nor the tattoos typically associated with Dauntless correspond with any kind of gender-related restriction or stereotypical portrayal. Although her new faction, similar to the majority of other factions, makes no difference between male and female members as visible in their appearances, the haircut in Insurgent does affect the depiction of women in the story because Beatrice states her reasons for it:

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I see a sewing kit on the dresser. In it are two colors of thread, red and yellow, and a pair of scissors. I feel calm as I undo the braid in my hair and comb it again. I part my hair down the middle and make sure that it is straight and flat. I close the scissors over the hair by my chin. How can I look the same, when she’s gone and everything is different? I can’t. I cut in as straight a line as I can, using my jaw as a guide. The tricky part is the back, which I can’t see very well, so I do the best I can by touch instead of sight. Locks of blond hair surround me on the floor in a semicircle. I leave the room without looking at my reflection again. (Roth, 2012: 16) The necessity to cut her hair short in order to feel more powerful and more suited for combat implies that females have to take on male characteristics in order to gain the strength, both physically and mentally, to fight. Although this action can also be interpreted as attempt to conclusion, as Beatrice’s family dies in Divergent and her life takes on a completely new direction she tries to adapt to with this, the conversation held between Four and her suggests the influence of her opinion on her role in the upcoming fights. Hence, the typically male attributed appearance of short hair, which is also often seen as male trait in female characters, gives the protagonist a notion of toughness stereotypically accredited to men rather than women. Based on the traditional depiction of women with long hair conveying the most renowned image of femininity and the reverse being seen as characteristically masculine, these clichés are used to demonstrate Beatrice’s altering character as well as a difference to traditional female figures in literature expressing their traits through gender-based norms.

Despite the gender-related aspect of defiance in the protagonist’s change of apparel before entering the combat field of her hometown and facing the forces behind her parents’ and former factions’ death, the need to take on a masculine look suggests the prevailing image in society of weak women and strong men. The fact that the female main character is not depicted fighting against the system that is responsible for her faction’s near extinction with the long hair she is introduced with in the first book of the trilogy signals that male attributions are woven into the character’s development in order to give her a powerful position in the following events. However, in the course of the story the focus on outer appearance is put in the background due to the revelations connected to the dystopian system

121 maintaining the faction divisions as well as the realization of involuntarily being participants in exteriorly led experiments. While the haircut and alterations on Beatrice’s body are included in Divergent and Insurgent, Allegiant mostly depict the main character’s struggle of righting the wrongs done by the respective persons in charge of the experiments. With this the initial inclusion of gender-related biases and their dissolution give way to the main content of the story which does not distinguish between sexes but the mere function of genes. Hence, the gender aspect is woven into the story but never directly expressed through appearance and, moreover, does not impact the process of the story with it and neither recurrently reflects its progress and turns through it.

13.2. Relationship Structures

Although Beatrice has close ties to her family in the first part of the trilogy, her romantic relationship with Tobias is a common thread that includes and highlights aspects involved in the general portrayal of the female character on the one hand and interacts with the further progress of the story on the other hand. Despite the lack of a direct love triangle as it is frequently found in contemporary young adult dystopian novels, more than one of the fictional figures is affected by the protagonist. Reversely, Beatrice is also emotionally impacted by the circumstances that are described in the first of the three main novels.

While love and possible relationships are no topic of interest to the main character in the first chapters of Divergent, its importance increases in the course of the story. What partially depends on her faction of origin and the usual way love is handled there is also influenced by her strong focus on her individual future and the decision that lies before her when the book starts. Despite the considerable freedom members of Abnegation are granted in their partner choices, what seems most common are relationships between neighbors starting in their youth

122 and leading to a later marriage with children. With this the image of a structured and monotonous life, seemingly without disturbances is established and becomes characteristic for this particular faction. Moreover, the family life, once it can be called one, follows a common pattern in the majority of cases which includes the organized and fixed positions held within the nuclear family and widely excludes separations and divorces. Hence, the failed marriage of Tobias’ parents depicts an exception to the rule as far as traditional family life and relationships in the faction are concerned. As it is described in the very beginning of the first novel, such a preplanned life would also be possible for Beatrice. Although she briefly considers this option before she decides to drop out of her faction, she is not described to actually intend to lead a typical Abnegation relationship marked by monotony and often hierarchal structures. This can be argued because she does not have a boyfriend and is not actively looking for one while her brother is in a relationship with a girl from a neighboring family. Despite Caleb’s equally impacting decision to leave the faction, Beatrice has not even engaged in a relationship while she was not sure whether to stay or not. Based on this she rejected, consciously or unconsciously, her participation in the familiar system and therefore not actively confronted herself with the issue of love.

The thought of a real relationship and everything it brings with it only occurs to the protagonist after she switches factions and practices her fighting skills in the initiation phases of Dauntless. While she recognizes sings of feelings, the realization of being in love with

Tobias draws on her at a later point. The relationship between Beatrice and her instructor naturally implies a certain degree of hierarchy due to the different positions the two characters hold in the first part of the trilogy, but does not show this specific structure often. In

Divergent the power balance is different than in Insurgent and Allegiant because of the main character’s training phase and the still existing possibility of being thrown out of Dauntless during the initiation. This explains the scenes in which Tobias is portrayed acting superior and

123 demanding. However, such a behavior is mostly described in public and to disguise their involvement in order to prevent their dismissal. The developing relationship as such is not shaped by hierarchal structures, violence or oppression. Beatrice is mainly described as individual, self-directed character who helps her partner through his fears, rather than the vice versa. Although Tobias is eager to help her through her parent’s death and her brother’s betrayal, she hardly accepts her weakness and refuses to give in to it. Apart from this, the relationship between the two characters is mostly depicted as harmonious and caring despite the phases of distrust caused by the realization of the dystopian social system and the experiments behind it. Both Tobias’ and Beatrice’s perspectives show strong affection for each other and are characterized by a quick realization of their feelings despite having certain difficulties with admitting them and trusting each other at first. Nevertheless, the protagonist overcomes her doubts and initial self-inflicted insecurities within the first novel, which is considerably fast compared to many other works of dystopian young adult fiction.

In addition to Beatrice’s relationship with Tobias, there are other male characters interested in her which does not directly create a love triangle but depicts the protagonist as desirable.

Al, who is one of the protagonist’s fellow initiates and therefore on the same level as she is, develops feelings for her, which he also expresses at a certain point in the story, but is not rewarded with the same kind of interest. Although the main character realizes his attraction to her after his confession, she cannot return these feelings. Since Al turns to violence in order to respond to this rejection, Beatrice defends herself and breaks their friendship which ultimately cuts the indirect triangle structure. With Al’s suicide after his violent approach towards her, the relationship structures in the story change and remain exclusively focused on Tris and

Tobias. With this drastic end to the attempted love triangle the descriptions of the protagonist’s relationship remain on the solid romantic interest in her slightly older instructor

124 but impact her character in the way she processes her emotions the influence they take on her actions in the further progress of the trilogy.

13.3. Emotional and Mental Description

Beatrice’s emotional and mental state described in the Divergent trilogy is preliminary influenced by the loss of her parents, her brother’s betrayal and the responsible dystopian society she is part of. Although she is not fully convinced of her skills and abilities in the beginning of the story, she develops an increased self-esteem after her change of factions.

However, it is still a factor with considerable significance influencing the character’s innermost depictions. Additionally, her psyche is impacted by conflicts between her felt responsibility towards her new faction, her old faction and other innocent people affected by the political changes in her hometown and her worries about Tobias as well as the promises she makes to stay safe. Hence, the contradiction between personal happiness, love and freedom and the fate of the major population is also part of the reasons for the protagonist’s emotional and mental depiction in the course of the novels. Each of these aspects contributes to the variety of feelings mentioned in the inner monologs that serve as basis for her constitution as perceived by the reader.

The most influential factor in the main character’s portrayal is the death of her parents and the broken family she is left with. While she is not satisfied with the family life and the faction she was born into, the love for each of her family members is still strong, despite the anticipated, and later accomplished, transfer into Dauntless. The contact between former relatives and friends is strictly prohibited outside of visiting days but not always followed by

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Beatrice. Although she committed an act of betrayal as viewed by most factions, her decision to leave Abnegation does not stop the relationship she has with her parents. Since her brother

Caleb transferred to Erudite, staying in contact with him is not as simple as communicating with her mother in public places or on visiting day. Due to the closeness between Beatrice and her parents, the loss of both deeply affects her and the actions she takes in the further story.

This is also visible in the initial effort she puts in the attempt to safe her mother and father from the attack launched by Erudite using members of Dauntless. The sudden death of her mother while trying to safe her triggers feelings of revenge but is not as strongly present as after her father’s death in the end of Divergent. The full range of emotions and actions caused by this is shown in Beatrice’s following conviction of destroying the leading figures of

Erudite and everyone involved in the slaughtering of the majority of Abnegation members.

While the death of the protagonist’s mother and father are most shaping in terms of her emotions after the attack and her newly formed aims of revenge and justice, her former faction and those innocently murdered by the initiators behind the nightly intrusion play an important role as well. Despite the solemn loyalty demanded by Dauntless, Tris is still emotionally connected to her initial faction, her past life lived among former friends and family and the remaining members of Abnegation. Because she learns to judge people by their character and behavior rather than their faction, which is not welcomed in the dystopian social system prevailing in her hometown, she defines her own identity as partly influenced by

Dauntless and Abnegation rather than exclusively one of them. Hence, the incidents taking place in the Abnegation sector are not only horrifying for her due to their cruelty and unnecessity but also because of her remaining emotional bond with the people directly affected by the attack. This is an additional reason for the intense effort Beatrice puts into the destruction of any weapon dedicated to the use against an Abnegation member, which, at later points in the story includes every faction as the true reason for the attack is revealed. The fact

126 that her former faction is of key interest for Erudite in the first place due to the assumption that most people defined as Divergent can be found among it increases her passion to put an end to these developments. Based on her own secret status of being Divergent and the linked danger of being threatened with death in the current incidents, Beatrice associates herself not only with Abnegation but also with everyone across factions declared the same as she is.

Tobias being Divergent also adds up to the reasons why the main character is often depicted as worried, scared but mostly convinced of the necessity to take revenge and resist the dangerous developments caused by Erudite. Although the loss of her parents and the status of being under current threat negatively affects Tris’ emotional and mental wellbeing at certain points, it mainly makes her stronger and builds the basis for her motivation and courage despite feeling anxiety, anger and fear. Therefore, the terrible incidents happening across her hometown in the course of the three novels triggers Beatrice’s drive and stamina in the fight against the forces behind the attacks in the first two books and contributes to the continuation of it in the last one although a higher instance behind the social system is revealed. In the end, the loyalty to her hometown, the devotion to the revenge she wants to take for her parents’ death and the passion to protect those threatened by the, to her not relatable and unnecessary, gene experiments as described in Allegiant overweigh any feeling of doubt and fear and cause her to take responsibility for putting the projects in progress to an end. Hence, the emotional closeness to her city and the people in it outweighs her negative feelings and sporadically appearing self-doubts.

Nevertheless, the main character is not only influenced by positive emotions and brevity but also mentally suffers from experiences that negatively affect her inner wellbeing and the way it is portrayed. The three most significant memories that are repeatedly present in her thoughts and sometimes hinder her intended actions include her involuntary but necessary murder of

Will, who is not only her friend but her best friend Christina’s boyfriend in the first novel.

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The other two memories are the recurring traces of distrust in her relationship with Tobias in

Allegiant caused his mother’s reappearance and her considerably strong influence on him and

Caleb’s betrayal. Due to the fact that Will is under the influence of the simulation serum used while ordering the comatose Dauntless members into Abnegation sectors to launch the attack against the Divergent characters assumed among them, he is not aware of his actions and therefore does not stop when he attempts to shoot Beatrice. In order to save her own life the decision to murder Will is the only possible solution to the deadly situation the protagonist is caught in at this point. Based on this forced action, the memories of the dying character haunt

Tris through all three books and are omnipresent in her thoughts whenever she has to hold a gun and has to defend herself or sees Christina. The traumatic experience of having to shoot someone, particularly a friend, to survive causes mental problems that become visible in form of fear, anxiety, the inability to act, and flashbacks to the initial situation. This hinders her mission and self-defense drastically in some scenes in Insurgent and Allegiant. As the story proceeds, however, the protagonist overcomes her fears and mental throwbacks and regains her power and courage. The second factor causing difficulties in Beatrice’s emotional and mental balance and wellbeing is the recurring distrust towards Tobias. The first experience she makes in this matter takes place in Divergent during the occupation of Dauntless headquarters. Although Tobias is put under the influence of a simulation serum that causes him to recognize his girlfriend as enemy, the shock of being betrayed and nearly killed contributes to later phases of mistrust and insecurity. This initial feeling, although only briefly present at this stage, resurfaces in the second and third novel as Four’s mother appears and wants him to join her independent movement rather than continue working on Tris’ side. The difficulties the main character is confronted with in her relationship during this phase weakens her and negatively affects her inner balance which is also displayed in her thoughts as described in the inner monologs. The third factor causing emotional and mental instabilities

128 and weaknesses in combat is the deep harm done by her brother Caleb. With his betrayal of his family and friends through his rejoining of Erudite and affiliation with the leading organs of it, he represents the last family member lost to Beatrice. Although he changes positions in the end of the story, the initially felt disloyalty and hurt caused by it are negatively connotated feelings decreasing the protagonist’s mental and emotional state and slowing down her recovery processes that are repeatedly influenced by the memories of Will, which are omnipresent at this stage in the story:

I wake up with his name in my mouth. Will. Before I open my eyes, I watch him crumble to the pavement again. Dead. My doing. […] I open my eyes, terrified, my hand clutching at the sheets. […] For a moment I see Will standing before me, both our guns between us – his hand, I could have shot his hand, why didn’t I, why? – and I almost scream his name. (Roth, 2012: 1, 9) Hence, these aspects contradict her courage and determination that characterize Tris’ emotional and mental state for the most part and, therein, conflict each other for a certain period of time.

Apart from the traumatic experiences and their consequences Beatrice suffers from, the most emphasized emotional attributes are positively influenced. The high degree of responsibility felt towards her hometown, her current and former faction, as well as the majority of the city’s population trigger courage, brevity, self-esteem, self-consciousness and strength, both physically and mentally. All these personality traits that impact the depiction of the main character’s emotional and mental state in the story also contribute to her acceptance of the social roles allocated to her.

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13.4. Social Role in the Fictional World

In the beginning of the first novel, the main character Beatrice has not taken any responsibility except for herself and her actions. She is a member of her family and the faction of Abnegation but no public figure or person of interest. Hence, the starting point from which the character is introduced to the reader does not show any signs of a major role ascribed to the teenage girl. Due to the stability of the nuclear family she is part of, there is also no need to take responsibility for a sibling’s or parent’s wellbeing. However, the typical young girl without a significant role in the fictional society turns into e heroic figure and savior after the choosing ceremony.

The transfer from Abnegation to Dauntless does not cause an immediate role change but initiates the developments necessary for the protagonist’s later effect on the social system and its eventual transformation. Despite the dawning threats and recurring attacks, Beatrice is not always clearly referred to as heroine. This is due to her operating in several teams but also because of Tobias’ role in the story which is mainly the male character besides the female protagonist but also her companion in the battles fought throughout the trilogy. His interference in Tris’ plans frequently causes her purposes to take different turns as well as discredits her self-acquired status of a savior with martyr qualities. Nonetheless, she succeeds in regaining her role each time and sacrifices herself in the end which seals her function for the fictional world. While she is often portrayed seemingly determined to take revenge for her mother’s and father’s death caused by the dystopian social system, and ultimately triggered by the experiments behind it, she also feels a certain responsibility towards her place of origin and the people left there. This is why the most significant role accredited to Beatrice in the

Divergent trilogy is the one of the ultimate savoir who is willing to die in order to save the

130 majority of the population in her hometown as well as the few beloved ones she still has in the end. Her motives are, therefore, inspired by altruism and loyalty. Nevertheless, she breaks through the walls created by the dystopian political and social system reigning the city as she is not only loyal to the faction she is a member of but to people regardless of their belonging.

Due to her status as Divergent, the protagonist is allocated a special role in the fictional society prior to the choosing ceremony, although it is not of visible importance before she joins Dauntless and becomes involved in the manipulated attacks accomplished by her new faction. With the inner resistance against a system that forces its people to be more closely bond to their groups than their family members and prohibits them to keep in touch with former friends and relatives after their transfer the main character’s attitude distinguishes her from the majority of the civilization described in the novels. Therefore, she is allocated a different and outstanding role from the beginning, though veiled and subtly woven into the storyline until the attacks and the revelation of the danger her identification poses. Based on the difference attributed to Beatrice’s fictional figure, the essential role she acquires later in the trilogy is already implied which means the existing and evolving outer influences are not the main reason for the exchange of the status of a usual teenage girl coping with the consequences of a faction change since the preconditions are already present within herself.

The most significant role the main character fills, therefore, is the one of the savior of her hometown and its people as well as the martyr who sacrifices herself in order to save the majority of the people affected by the experiments and dystopian structures prevailing in the fictional society. Although it is partly imposed on her through her belonging to the endangered group of Divergent persons, the position in the fictional world is also self-chosen.

Beatrice is on the one hand determined to take revenge for her parents’ death and the social and political system that allows such an attack on a faction that leads to its near extinction, on the other hand she also wants to protect her few remaining loved ones and other innocent

131 characters identifying with more than a single personality trait and breaking the boundaries of factions. Hence, the female protagonist consciously chooses to become a person of public interest although the main cause she stands for is the liberation of the population and the end of the experiments as they are conducted without the majority’s knowledge and agreement.

Her final decision is, therefore, inspired by personal and altruistic interest. Despite the character development that is necessary for Beatrice’s final decision to represent change and hope, though mostly operating without public notice, she shows signs of brevity and determination throughout the novels which empower her to position she is given in the story.

13.5. Character Development

Beatrice is portrayed as an average teenage girl in the beginning of the Divergent trilogy despite the upcoming Choosing Ceremony and the inner turmoil connected to it. The roles of a courageous savior and martyr attributed to her at a later stage in the story do not visibly influence the character’s depiction from the start. Although she is aware of her being different than other members of her faction, the explanation for her distinguished acting and thinking relates to her strong desire of joining Dauntless rather than being forced into an Abnegation life. The discovery of her status as a Divergent does not only change the protagonist’s position in the novels but also impacts her own development and the perspective on herself.

Nevertheless, the character development starts from the point of view belonging to a common sixteen-year-old, only differentiating herself from others in her community through her behavior at certain points.

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The slight derivations from the typical reactions Abnegation members show are mainly linked to passiveness and calmness despite threat and provocation against them. The lack of this character trait in Beatrice is observable from the first scene in which her faction is publicly discriminated and humiliated. Due to her unwillingness to conform to the faction’s standards and rules against active resistance in such cases, a hint at her difference is been given. Although this key scene in the beginning of Divergent subtly refers to Beatrice’s further importance in the story, it also signifies a spark in the developmental processes she is forced to endure in the trilogy. The protagonist’s urge to fight for her stands and prevent others from spreading lies and hate but also her loyalty towards her faction indicate a breach of rules prevailing in the dystopian society, according to which one solemn personality trait and skill are categorized into each faction. Based on the impossibility to belong to more than one faction, Tris’ differing behavior and sense of belonging, as it is developing, suggest both, her difference and the danger she is put into.

Danger plays an important role in the dystopian trilogy and particularly in the main character’s developmental processes and self-identification throughout the story. Due to the continuing threat of being prosecuted and the possibility of being killed Beatrice changes in her convictions which influences her way of thinking and her actions. These ultimately have an impact on her character and the way she changes the storyline and the social and political system in her hometown. Although she shows signs of courage and loyalty in the beginning of the first novel, her belief in being responsible to stop the factions’, and ultimately, the human beings’ systematic destruction and the uprising rivalry between contradicting convictions grows after her parents’ death and the discovery of her brother’s betrayal. This brevity is also perceived by Tobias as he describes his experiences with Tris in his fear simulations, which concludes that the character signals fearlessness towards others:

“We have to jump off, right?” she says, and I remember that I can’t curl into a ball and hide; I have to face this now. I nod. “On thee, okay?” I nod again. All I have to do is 133

follow her, that’s all I have to do. She counts to three and drags me behind her as she runs, like she’s a sailboat and I’m an anchor, pulling us both down. We fall and struggle against the sensation with every inch of me, terror shrieking in every nerve, and then I’m on the ground, clutching my chest. She helps me to my feet. I feel stupid, remembering how she scaled that Ferris wheel with no hesitation. (Roth, 2014: 247) While there is a strong component included in her motives that refers to the act of taking revenge for her mother’s and father’s deaths caused by the attack as well as the aftermath of it, there is also a factor involved that corresponds with the image of a martyr. Despite the fact that such a reason is not directly stated in the texts, the protagonist’s feelings towards the population she leaves behind in Allegiant imply a strong feeling of responsibility and commitment. Hence, the altruistic aspect becomes visible in her character in addition to her personal interests and pain regarding her lost family and friends. However, the conclusion of her character development is not reached before the end of the last book because of outer influences. Beatrice is depicted as caring and emotional person but also slightly insecure during the phase of her initiation to Dauntless. The drive to right wrongs is already existent but not as clearly present as in the following two novels. This is on the one hand connected to the death of her parents which occurs at a later stage in Divergent, on the other hand it depends on her self-esteem and authority. Although the protagonist proves her will power early through her change of factions during the Choosing Ceremony, the constant struggles she is exposed to as initiate hinder the increase of self-consciousness and trust in herself and her skills. Despite the eventual gaining of this trust and the developed strength, both emotionally and physically, the danger she and her loved ones are put into contributes to most. Hence, her instinct to save herself and those around her spring into action once the effect of the attacks become visible. Beatrice, therefore, advances to the role of an active fighter and savior in order to prevent people’s deaths.

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While this inner reaction and development is triggered by the outer influence of the attacks on the Abnegation sector and the endangering of Divergent persons, there are also incidents that hinder the protagonist’s character development and negatively affect her self-esteem and self-consciousness. Although the death of her parents present a motivation to Beatrice that helps her fighting against the enemy, it also drags her down to a certain degree. Similarly, her brother’s betrayal contributes to the shock that slows her developments down. In addition to the negative experiences related to family members, the protagonist’s advancements are disturbed by her own actions. The trust issues omnipresent in her relationship with Tobias also contribute to the conflicting stand on her further decisions and the faith she puts in them.

Nevertheless, these are not the most harming influences on her processes of self-development.

The major impact results out of a self-inflicted feeling of guilt after the forced shooting of her manipulated friend Will. Despite the necessity to shoot in order to stay alive, the murder of her fellow initiate and Dauntless member cuts a deep wound and stops Beatrice’s skills in self-defense and battle. Aside from her physical skills, her mental state, which is also harmed by the incident, represents another barrier in the essential character development. While her withdrawal from direct physical violence, even in attacks against her and her allies, symbolizes a different development of her personality, namely the one restraining to kill and rather sacrifice herself, it is not the end to these processes as they are included in the novels.

The final conclusion is reached at the point when the protagonist is ready to regain her power and self-consciousness portrayed through the overcome of her fear of using her defensive skills and, at the same time, takes them as a tool to achieve what she sees as the last possible action to prevent the destruction and continuation of the dystopian worldviews spread in her hometown. Based on the fear of losing the last loved ones remaining to her as well as the lives of innocently involved people, she puts the majority’s wellbeing and fate above her own and, although not fully aware in the beginning of her mission in Allegiant, acts out of altruistic

135 motives which also emphasize the strength and determination she reached and regained throughout the story.

Aside from the most visible impacts on Beatrice’s character development, namely her parents’ death and her brother’s following life choices, it is also shaped by unique individual experiences which originates from the actions enforced on her and the traumatic events happening around her that pose a serious threat to not only herself but also the close ties that remain. The destruction of her home sector and the effacement of the majority of Abnegation members outline the first significant factor in the drastic change of mind and the gaining of strength and determination that lead to the full acceptance of her distinguishing role of the savior in the fictional community. In addition to the danger that radiates from the plans of certain faction leaders and the consequences of their actions, the revelation of a systematic hunt for Divergent people increases the alert that expedites the acquisition of new mental and physical skills and powers along with the growing sense of a required interference. Following this realization and the embracing of the protagonist’s stronger self-esteem the fear for her boyfriend’s and friends’ lives encourages her attitude of seeing herself as the sole saver of their fates. Nevertheless, the incapability of using weapons after the shooting of Will in

Divergent commences a recurring hindrance in terms of the teenager’s character development.

While this negative effect is responsible for several misleading turns in the second and third novel, it is remedied in the end of the story when Beatrice’s awareness of her power and the possibilities that come with it is raised. Although the main character undergoes different inner and outer developmental processes, the girl’s self-esteem is not directly shattered and dramatically decreased by her surroundings but by her own doubts and the reprocessing of the traumatic experience of being forced to shoot her friend to survive. Hence, the occasionally breaking façade and inner convictions of the female protagonist are not always directed and triggered by external influences but the internal aftermath. The positive aspects in the further

136 development of her strengths and her self-awareness, however, are closely tied to both sources as they are connected to each other through a reciprocal relationship. Apart from the origin of the influences on the actual development, the natural prerequisites are already strongly present in Beatrice, which does not require the construction of each feature of her personality from scratch, as it is also observable in some of the supporting female characters in the trilogy.

13.6. Female Supporting Characters

Apart from Beatrice, the protagonist in the Divergent series, there are several other female characters in the story who function as depictions of femininity and display certain features used in the portrayal of women. Despite the appearance of more than three supporting characters identifying with the female gender, Beatrice’s mother, her best friend Christina and the leader of Erudite convey the most important representational traits through their descriptions and actions.

The protagonist’s mother takes on the most influencing role as far as her daughter and, therefore, the progress of the storyline is concerned. In addition to the parental function and the position of an internal advisor, she also embodies various elements used to portray femininity and womanhood in the books. Despite her early death in the first novel, her legacy as connected to the experiments as revealed at a later stage in the trilogy, remains omnipresent and hence is a significant source for the analysis regarding patterns applied in the portrayal of female characters. In the beginning of Divergent, Beatrice’s mother raises the impression of a woman living under the patriarchal system of her family and faction as she seems to be the force of calamity among her husband and children. Furthermore, subdues to the standards and tasks of an Abnegation life which heavily involves satisfaction with the least possible wealth and possession as well as physical affection. Similar to other members of the Abnegation

137 faction the character also restrains from the valuing of outer beauty and does not bow down to certain standards and norms related to it. As usual in this faction, she agrees to confirm to the opposite extreme of beauty fixation, which, in this case, is the retreat to plainness and oppression. Nevertheless, Beatrice’s mother uses this minimalistic and personally limiting lifestyle to cover her true identity and with it her real character and attributes of a strong female depiction. In the course of the attacks on the Abnegation sector the fictional figure of the protagonist’s mother is characterized by strong willpower, battle skills and physical and mental strength. Moreover, she represents a woman determined to achieve the goal she has been working on for years in the underground without public notice. Similar to her daughter’s actions, she sacrifices herself in order to save others. While she lives with the knowledge that such an action might someday become necessary and inevitable, the actual sacrifice is not exclusively dedicated to the wellbeing of the population but ultimately meant to save her only daughter from being killed in the attack on her faction’s home sector. Hence, the character does not only serve higher interests and purposes but also acts out of motherly dedication and love. With this the image of a loving mother, frequently present in adult women’s roles in fiction, is combined with the attributes of a strong, modern woman entering combat. The impression of a housewife and mother oblivious to political structures and emancipation shaped by passiveness as conveyed in the beginning of the story is therefore corrected to one of a woman actively taking part in the development of her surroundings and willingly fighting against harmful influences. Beatrice’s mother functions as a symbol of emancipation breaking through the façade she created in order to operate in the hidden and prepare herself for the moment of her personality’s revelation to the public. Due to her former role as plain

Abnegation woman and beneficial worker, the effect on her daughter is considerably strong when she discovers the true nature of her mother. Thus, she envisions her mother during her final moments and the successful avoidance of her home town’s extinction:

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I feel a thread tugging me again, but this time I know that it isn’t some sinister force dragging me toward death. This time I know it’s my mother’s hand, drawing me into her arms. And I go gladly into her embrace. Can I be forgiven for all I’ve done to get here? I want to be. I can. I believe it. (Roth, 2013: 476) The surprise about her real identity can also be seen equaling the outcome of a woman seemingly oppressed by patriarchy and domestic matters as a self-directed, determined, ambitious and powerful female character.

Along with Beatrice’s mother, her best friend and fellow initiate Christina symbolizes a further female figure characterized by strength and high self-esteem. Since the teenager was born into the faction of Candor but changes to Dauntless during the Choosing Ceremony, the trained personality trait of honesty remains present throughout the novels. Due to her way of speaking her mind without thinking about politeness, decency, or consequences she tends to question and ignore authorities and male dominance. This is particularly significant in the scene of her first encounter with her instructors and Dauntless leaders. In contrast to other characters who do not dare to object to any rules or teaching methods Christina directly addresses inconveniences and unclear orders in front of others and comments on speeches of authorities. Despite the negative reactions she experiences from the persons in question, she does not allow them to break her personality and silence her. This strength of will and the claim of the entitlement to personal freedom and the right to her own opinion as well as the public expression of it mark her as a strong and emancipated female character who stands up for her beliefs and fights for them. Although several incidents are deliberately used to restrict her behavior and limit her self-directness and self-consciousness, Christina remains strong- willed which makes her considerably more self-secure than Beatrice in the first installment of the trilogy.

The third recurring female character significantly shaping the portrayal of women in the

Divergent series is the leader of Erudite, Jeanine Matthews. This figure generally embodies the antagonist within the narration and therefore functions as negatively connotated pendent 139 to Beatrice. Based on her fierce engagement to her plans of finding and extinguishing

Divergent people living among society she becomes the protagonist’s deadliest enemy during the first two installments to the dystopian trilogy. The emotional coldness and detachment from the misery she brings on those haunted by her and her followers correspond with an image of a merciless and cold-hearted female assassin. While she also possesses positive features such as intelligence, determination, leading qualities and high self-esteem, the purpose she dedicates them to turns her into a negative character. As far as the depiction of femininity is concerned, Matthews represents a strong-willed and focused woman who blends into the cliché of a madwoman, concentrated on the destruction of certain characters.

Nevertheless, the gender image established through her is not exclusively stereotypical as there is no love story causing bloodlust or a desire to take revenge as it would be in the traditional image of a female antagonist. This, along with her being head of a faction and therefore claiming a respected position within the fictional world, gives her character a note of emancipation and modernity.

The supporting and recurring characters in the Divergent trilogy have the strong- mindedness and emancipatory aspects in common that distinguish them from traditional female role models as applied in literature, including classic dystopian fiction, heavily used in the 20th century. Despite the different positions they hold in the story, as well as their effect on the dystopian environment, the common grounds of strong and mostly independent female representation remains in all three examples.

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14. The Selection

The Selection series is a dystopian romance book cycle that follows the life of the female main character American Singer. Set in a political and social system coined by oppression and the reign of a monarchy succeeding a war on American soil, the protagonist is part of a caste structure that categorizes the kingdom’s population according to numbers. When the prince calls for every respectable woman and young girl to submit their applications and enter the competition to become queen as the heir’s marriage is usually handled, America is forced to participate against her will. The first three installments to the series are dedicated to the main character’s experiences in the competition and her way to the crown. The fourth and fifth novel continue the story from America’s daughter’s perspective as she is expected to take on her position on the throne and find a husband in order to do so. The sixth book is a compilation of short stories conveying the views and emotions of the male characters included in the series which also enables the reader to gain further insight into the personality structure of the female protagonists and the image and patterns of the representation of female characters in the novels.

14.1. Physical Appearance

Based on the setting of the novels, outer appearance plays a subordinated role among the female characters participating in the royal competition, called the selection. The protagonist’s point of view is the most present one as she also functions as narrator of the story but also the other fictional figures’ reactions to dressing, body image and beauty ideal are mentioned and continually questioned. Since the selection is constructed similar to a show

141 for single women looking for a future husband, a considerable emphasis is put on the girls’ looks and public appearance. This is not only a matter of later stages in the competition, but rather accompanies the female characters from the day of their successful application, as demonstrated in the scene following America’s acceptance:

“Miss Singer, this is going to sound harsh, but as of last Friday, you are now considered property of Illéa. You must take care of your body from here on out I have several forms for you to sign as we go through this information. Any failure to comply on your part will result in your immediate removal from the Selection. Do you understand?” (Cass, 2012: 59) Despite the general portrayal of beauty standards depending on outer rather than inner qualities, the specific experiences of America Singer build the key source for the detailed analysis as she is the main character who naturally plays the most significant role in the story.

America’s physical description does not vary from the general beauty norm and typical image of femininity due to her slender figure and long hair. Apart from the depicted body image, the protagonist’s clothing style changes in the course of the novels based on the altered living circumstances and the purpose of her stay in the palace. In the beginning of the first book the teenage girl does not possess a broad variety of garments, but still favors casual clothing, mostly pants rather than skirts and dresses. With this, she outlines an image mostly connotated with male attributes, causing it to clash with traditional female representation.

Furthermore, the preference for pants symbolizes a modern way of thinking that suggests emancipation and the resistance against the violation of her body rights. Additionally, it defies gender barriers and stereotypical categorization based on sex. While America represents a strong-willed and emancipated female character mirrored by her choice of clothes and her considerably low interest in beauty norms and ideals prior to her forced application to the selection, her outer appearance is changed according to the rules of the royal competition once she officially enters it.

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The selection focuses on a strong characterization of women expressed through looks which establishes a beauty norm the contestants are expected and obliged to meet. Such constitutions do not merely refer to the garments of the women chosen as participants but also reaches into their behavioral pattern and intimate body rights. Along with the obligation to raise the impression of traditional femininity within the frames of post-war dystopian monarchy, the concept of the selection violates essential women rights which is accepted by each woman due to its mandatory signing before their arrival at the palace:

“Moving on. Now, I know this is personal, but I’ve had to discuss it with every contestant, so please don’t be shy.“ He paused. “I need confirmation that you are, in fact, a virgin.” Mom’s eyes nearly popped out. […] “Are you serious?” […] “I’m afraid so. If you’re not, we need to know that immediately.” […] “Very good. I’ll just need you to sign this form to confirm your statement.” (Cass, 2012: 60) Additionally, the unofficial demand to withdraw from their body rights, symbolizes a further intrusion in essential feminist issues:

“One more thing,” Skinny said with his hand on the door. “This isn’t exactly a rule, but it would be unwise of you to ignore it. When you are invited to do something with Prince Maxon, you do not refuse. No matter what it is. Dinner, outings, kisses – more than kisses – anything. So not turn him down. “Excuse me?” Was the same man who made me sign a form affirming my purity suggesting that I let Maxon have it if he wanted it? “I know it sounds … unbecoming. But it would not behoove you to reject the prince under any circumstances. Good evening. (Cass, 2012: 64) Furthermore, America’s reaction to this situation integrates first hints at the inclusion of feminist thought in the construction of her character:

I was disgusted, revolted. The law, Illéan law, was that you were to wait until marriage. It was an effective way of keeping diseases at bay, and it helped keep the castes intact. […] I was infuriated. Hadn’t I just signed a form saying I’d be punished if I broke Illéan law? I wasn’t above the rules; that was what he said. But apparently the prince was. And I felt dirty, lower than an Eight. (Cass, 2012: 65) Aside from this interference in the women’s most intimate life areas, the concentration on feminine dressing styles is considerably strong. Although the setting of a monarchy also contributes to the dress code created for the participants of the selection, it also symbolizes the sole degradation of female characters to their bodies and the beauty image they are

143 expected to embody. Hence, a great amount of time is invested in the hairdo and clothing of each contestant. The pattern that is visibly observable in the choice of garments is the emphasis and portrayal of femininity through long hair and long dresses. America’s disgust towards this dress code enforced on her collides with her personal preferences and world views. Aside from the fact that she considers pants more comfortable, there are also signs of inner resistance against the pressure and coercion put on her and her fellow participants by prohibiting them to wear anything else than dresses. This leads to her request to wear pants as an alternative to the heavy dresses tailored for her: “If she cries, I want to wear pants for a week,” I offered” (Cass, 2012: 137). Despite the limitations tied to the grant of her wish, the possibility to wear them inside the palace on weekends symbolizes a partwise victory over prevailing gender stereotypes and perceptions. With this, the main character also proves a considerable level of emancipation in her way of thinking. The expression of it is primarily enabled through clothes as they are commonly unanimous in the type of garment given to the contestants. Furthermore, this different dressing style, even beyond the eyes of the public, distinguishes America from the other girls chosen for the selection which highlights their lower emancipatory force and awareness.

In the course of the story the female protagonist slightly changes her position in the matter of dressing and outer appearance. Although she does not surrender to the values and the stereotypical image of women conveyed by them, she learns to cherish the effort put in the cause to underline her beauty. Therefore, the single-angled perspective the character holds in the beginning, which is marked by strong-willed emancipatory factors and not portrayed as negative, is supplemented with an additional point of view. Nevertheless, the defragmentation of the gender bias connected to the restricted dress code enforced on the contestants of the selection continues in the last two installments, although America’s daughter takes over the position of the protagonist and she subsides into the background.

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Eadlyn generally represents the image of a strong and independent woman in the fourth installment but also bows down to the traditional dressing of women as ordered by the monarchic system the story is embedded in. Despite the influence of her mother’s resistance and her own free will, America’s daughter does not make dressing codes a discussable issue as she primarily focuses on her work and the way she can cope with her future position as heir to the throne than her public appearance which is also perceived through the clothes she wears. While the protagonist of The Heir and The Crown is depicted with casual clothing in the palace whenever there is no official appointment, her resistance against stereotypically feminine dresses is not a foregrounded topic. Nevertheless, the main character’s clothing style prior to the enforced selection differs from her later appearances as she focuses on the depiction of femininity during public events and press meetings which increasingly happen with the arrival of the contestants. Hence, similarly to America, her daughter is not interested in displaying a traditional gender stereotype but gives in to orders to serve her country and gain the power to change it according to her visions.

An aspect related to the outer appearance of female characters in the Selection series that is constantly present in the novels, is the distinction between public events and recreational time.

Although supporting characters are not directly affected by this alteration in clothing, the two protagonists are frequently mentioned differentiating between explicitly feminine, royal and glamourous dresses and casual outfits such as pants and shirts. While America has to directly state her desire to exchange the long and heavy dresses with garments that are more comfortable to her, Eadlyn does not have to fight for this right but also takes the opportunity to wear casual clothes. In contrast to this, each of their public appearances, regardless whether they are television interviews or their physical presence inside and outside the palace to celebrate, invite or represent the monarchy and the kingdom, requires the female figures to keep to dresses and a portrayal that is considered appropriately royal and feminine. Based on

145 this discrepancy between private moments and public representation, the strong focus on the image of the palace that is established is foregrounded. Thus, the female characters are expected to be consistent with the perception of the majority of a society in order to avoid a breach of standardized behavioral and appearance related patterns which ensure the continuation of the present political and social system in the fictional world.

14.2. Relationship Structures

The relationship structure in The Selection series corresponds with one of the typical aspects used in contemporary young adult dystopia, namely the love triangle the protagonist is caught in. While the two characters between which America has to decide are clearly marked from the beginning of the first novel, those affected by Eadlyn are not directly defined at the start but are rather surfacing in the middle of the story, hence when the selection is reduced to the final contestants. However, the first half of the book cycle, which is dedicated to America

Singer as the female protagonist and voice of narration, declares Aspen, who is introduced in the first chapter of The Selection, and Maxon, the prince who calls for the competition the other two figures in the love triangle.

America’s relationship with Aspen is still intact when the story starts out and therefore builds the basis for her later struggles with love and emotions. While he decides to break up with her because she has a chance of becoming a member of the royal family, and thus socially and financially advancing in the case system, the feelings remain which leads to his active involvement in the relationship structures portrayed in the novels. Despite the pain he causes the protagonist, she is still emotionally attached to him throughout the process of the

146 selection which is the main reason for her inner turmoil once she reconnects with him as he is ordered to the palace as a royal guard. During his physical absence, America develops a certain emotional closeness to Maxon. In the early phase of realizing her feelings she denies them and fights against them until she starts coming to terms with her new love:

After all these months of trying to reconcile what I wanted and hoped for, I realized then – in this moment Maxon created just for us – that it would never make sense. All I could do was move forward and hope that whenever we drifted, we would somehow find a way back to each other. (Cass, 2014: 83) The placement of Aspen into this situation results in the direct application of the love triangle since all three parties are present in the same environment. The indecisiveness that characterizes America’s attitude towards her potential relationships leads the two male characters to a competition in order to win her over, which is at first only noticeable to the protagonist herself until her former relationship is revealed.

While Maxon and Aspen play their parts prior to the realization of a love triangle as well as after it, the main character is awarded with the highest scope of action, mostly consisting of inner conflicts and indecisiveness. The strong emotions America feels in the beginning of the first novels remain present even after her discovery of her feelings for Maxon. Although it seems like the final decision is not granted to her as Maxon spontaneously picks another girl over her, the majority of the relationship aspect is shaped by the protagonist’s thoughts and comparisons while trying to come to terms with her love interests.

The two relationships America experiences as portrayed in the book series, are mostly characterized by equality and harmony although there are some negative aspects involved.

Aspen does not represent a male character using physical or emotional violence against his girlfriend. Although he is depicted as a figure who highly values the capability to feed a future wife, seeking for a better living standard he could present her with, he still accepts America’s care. The balance is hereby shifted to the female part in the relationship as she takes care of

147 her boyfriend despite his strong belief in it being his traditional task and not hers. Aspen’s insistence on his partner’s participation in the selection, although meant for her best, shifts the power distribution back to him as he also ends the relationship by pretending to have fallen out of love. Since he is trying to achieve a better life for America even without him being present in it, he regains the position he wants although subtly while operating in the background. With this, he claims the part of caring for the female and guaranteeing her a better life and financial as social securities by setting her free and hoping for her to win the selection. The fact that his own plan is not bearable after a certain time leads to the assumption that his biggest concern is his masculinity as it is traditionally referred to the man being in charge of finances and his family’s wellbeing, corresponding with a patriarchal worldview. Aspen’s job as a guard in palace includes social respect and financial securities.

Thus, he tries to win his former girlfriend back in order to reengage in the relationship with the only difference that he would now be able to live like the man he already imagines in the beginning of the series. Although it is not clearly stated, this though pattern, and therefore

Aspen’s perspective on his relationship with America, mirrors a traditional relationship constellation in which the male part outweighs the female part and fulfills the stereotypical role of the powerful caretaker and head of the family.

Maxon, on the other hand, is mainly described as intentionally attempting to include

America in his work and therefore opening a traditionally male dominated area up to a female character. With his efforts, the power distribution mostly keeps in balance and therefore dissolves the stereotypical image of patriarch ruling over the family, such as his father frequently embodies in the story. Despite the traditional image of a charming young man trying to impress his love interest, the developing relationship between Maxon and the female protagonist builds on understanding and equal entitlement to discussion and decision. One of the most significant aspects in terms of a balanced power distribution between the male and

148 female part is the recurring inclusion of America in Maxon’s work and personal tasks related to the throne. While a certain amount of work has to be done by all contestants during their participation in the selection, the areas to which the main character gains insights are considerably closer tied to the prince’s personal ideas and future plans and therefore not part of public knowledge. Apart from the strong involvement of America in his work and therefore characteristically male field of expertise as it is handled in the monarchic system displayed in

The Selection, there is no indication of physical or emotional violence. Similar to Aspen’s description, neither Maxon is portrayed as a male character using domestic violence or physical, verbal and emotional abuse as a tool of oppression. In contrast to America’s first relationship, her second is coined by an equal power distribution and a harmonious common basis they both share throughout the five main novels.

Despite Aspen’s tendency to inhabit a stereotypically male position within their relationship, both of the protagonist’s partners restrain from violence of any kind.

Additionally, there is no oppressive aspect included in the description of the different love interests. Hence, America chooses between a slightly traditionalized family construction when it comes to power distribution based on gender and a modernized version shaped by equality and inclusion.

While America’s love life is visibly characterized by the love triangle and the two relationships she engages in during the story, her daughter’s relationship structures are not as clearly outlined from the beginning and also differ in their description. The existence of a narrowed version of the love triangle present in her mother’s romantic interests does not only differ in the fact that Eadlyn is not in a relationship when her character is introduced to the reader but also the considerably quick realization that one part of the triangle is better suited to claim the position of a close friend than a potential partner. Additionally, the protagonist of the last two books is modeled to represent an independent woman who does not intent to rely

149 on a boyfriend or husband but rather focuses on her duties and the work she inherits with the throne without a further person being involved.

The fact that Eadlyn refuses to host a selection at first corresponds with the portrayal of an independent and self-confident young woman who lives according to modern standards rather than traditionalized values. This picture remains until she consciously questions herself about her emotions and relations to others. Although there is a certain type of love triangle present in the midst of her selection process, it is resolved quicker than her mother’s. In addition to this, her feelings for Kile are soon revealed as deep friendship rather than a love for which sacrifices, such as bowing down to the rules of the palace, are easily made. Despite Kile’s presence in the love triangle, one position in it remains not clearly defined until the second half of the last installment to the series. The initial attraction to Henri ebbs in the course of the story but still leads the reader to think he might be in the closer selection until the main character herself discovers her emotional attachment to his interpreter Erik. Since the feelings described in The Heir and The Crown are not the sort of love interest that build a basis to a romantic relationship, the love triangle which is woven into the plot as observed from the surface, in truth dissolves in the end and reveals that the real attraction exists between Eadlyn and a male character not actively participating in the competition. Although the female protagonist’s decision to marry the man she discovers to be in love with at the end of the last novel hereby indicates a breach with her former convictions and independent appearance, a modernized touch is still detectable in the choice of her future husband. According to the rules of the palace in the fictional world of The Selection, the person chosen to marry the heir to the throne has to go through the selection process and therefore officially participate in it. Since

Eadlyn insists on someone who is not part of the competition, she therefore resists the traditional values of the monarchic system described in the story. While she does not fully represent the independent young woman she is introduced as in the beginning, America’s

150 daughter still functions as a role model for gender equality, in this case conveyed through the description of her relationships.

14.3. Emotional and Mental Description

America’s emotional and mental description remains mainly consistent throughout the three books in which she functions as main character. Although her inner struggles regarding her first relationship and the love she lost with it is an omnipresent issue in her thoughts and actions, the overall portrayal equates one of a self-confident young woman who is not willing to change her priorities and beliefs. Despite several scenes of emotional breakdowns and indecisiveness the protagonist is characterized by mental strength and emotional stability as far as the operations related to greater goals such as the political and social system of her home country is concerned. Nevertheless, there are several aspects involved in the depiction of the protagonist’s emotional state during the selection process which are shaped by desperation, weakness and insecurity.

The most striking aspect referring to her insecurities and self-doubts is America’s lack of conviction regarding her belonging and her adequateness of being in the selection. While a considerable amount of these negative thoughts and emotions is triggered by the outlook on the prospects connected with her possible position as future queen of the country and the responsibility of leading it along with her husband, she is also consumed by the inability to decide whether she feels attracted to Maxon as well as whether she is the right choice for him.

Despite positive responses from some of her fellow competitors and the queen’s and her son’s general welcoming and warm attitude, the main character’s father represents the most influential source of confidence and assurance. The constant reassurances of affection and self-confidence mainly lead to her regaining of emotional and mental strength and the self-

151 directedness that characterizes her actions in the course of the selection process. The dependency of affirmation given by a male figure, in this case a male fatherly figure, suggests the need of a man’s approval to live the life she unconsciously aspires. The degree of this dependency, however, is also influenced by the common ground of interests both characters share, namely the curiosity for historical events, which therefore leads to the close relationship father and daughter are pictured with in the beginning of the series. Based on these two factors, the efforts America’s father puts into their correspondences uplifts her spirits and gives her the strengths and self-security to continue with her focus on improving the population’s living circumstances, heavily involving the abolishment of the caste system, as well as her chances with Maxon and the development of their relationship resulting out of the realization and definition of her feelings for him. Additionally, she is empowered by the background of her proud and supporting father to cope with the both the thought of the responsibility she would inherit by her being selected as well as the actual duty imposed on her with this life changing decision.

Despite the considerably significant impact her father has on the her, she is also able to find her inner strengths on her own at times. While the correspondence with her father helps her in crucial situations, spontaneous acts are fought on her own account, such as the decision to accompany Maxon on his quest to meet with a specific group of rebels. Similarly to this situation, America’s fierce convictions of right and wrong are also deeply installed in her without the need of confirmation and approval from the outside. Hence, she instinctively decides to take her maids with her in the wake of a rebel attack on the palace in order to assure their survival and wellbeing. The fact that she breaks the monarchic rules with this action is of no interest to her due to her conviction that the worth of a human life is of greater value than any etiquette practiced in the social and political system of the kingdom. Although it can be argued that these beliefs partially developed out of the education and upbringing by

152 her parents, no direct assurance and approval by them is needed in the particular moment. In contrast to this, the majority of planned decisions that require a lot of thought invested in them are talked through with America’s father. Thus, the main character has the emotional and mental strength and the necessary self-confidence to take the actions she regards as right and decent but frequently lacks awareness of her own power and self-determination.

The continuing emotional support America receives from her father during his lifetime is describes as an essential aspect in her own stability but still does not cause her to fully surrender to her weaknesses after his death. Although there are moments when the protagonist longs for the memory of her father as well as his advice, she still succeeds with her life choices without his presence and assistance. Apart from his influence on her actions and emotional and mental stability, the main character lifts herself up and dedicates her inner strength and the powerful position she gains at the end of The One to change the political and social system dominantly prevailing in her country. With the changing main characters in between The One and The Heir America’s emotional wellbeing is put in the background in favor of her daughter’s but still maintains its characteristic strength.

In contrast to America, Eadlyn does not show any signs of weakness in the beginning but slowly reveals her emotional insecurities and innermost fears in the course of the selection as she lets her guard down and starts reflecting on her future actions and whereabouts. While the protagonist of the last two installments in the book series is initially described as a self- confident, independent and emotionally and mentally stabile person, her façade is eventually defragmented. The young woman is solemnly focused on the tasks lying ahead of her in terms of her function in ruling the kingdom. The aspect concerning her personal life as well as the necessity to be married in order to inherit the throne and the connected responsibility are not seen as a factor adequately fitting into her modern and self-determined lifestyle. This evokes

153 an image of a self-assertive female main character shaped by feminist ideas and the confidence to cope with challenges presented to her.

Eadlyn is introduced to the reader in The Heir as a self-confident and independent young woman who is characterized by emotional and mental stability and a strong focus on her responsibilities. The changing circumstances in the palace and the protagonist’s life lead her to rethink her attitude and whether she is as secure and self-asserted as the image she projects for the public. As soon as she is indirectly forced to host a selection in order to look for a potential husband and companion, the way she is perceived from the outside increasingly becomes more emotionally distanced. According to the main character’s inner monologues, this behavior serves her self-protection as well as to compensate her growing feelings of inadequateness and possible failure. As the selection progresses and Eadlyn tries to actively engage conversations with the contestants she does not only gain knowledge of the persons participating in the competition, she also reflects on her own emotions and weaknesses. While she seems self-assured in terms of the tasks presented to her as future queen of the kingdom, the fear of finding herself incapable of living up to the expectations of her family and the majority of the population continually surface within her. Furthermore, the protagonist also discovers her difficulties in trusting other people and letting her guard down in order to acquire knowledge about her own as well as other’s true personalities. Although there are several scenes included in both The Heir and The Crown that function as positive contributions to Eadlyn’s emotional development and stability, negative and hindering aspects are also woven into the storyline. However, in such situations, the main character quickly regains her emotional detachment and authority to draw a line between her self-directed openness and a forced intimacy imposed on her by certain members of the selection. Aside from incidents like this, the protagonist’s developmental processes in terms of emotional and mental stability and confidence is mainly encouraged by what she encounters in the course of

154 the selection. While she is not only more approachable at the end of the competition, it is also possible to detect her weaknesses and insecurities as well as their mending and the newly gained confidence that considerably affects her emotional and mental stability and portrayal in the novels which ultimately builds the basis for Eadlyn’s position in the fictional society.

14.4. Social Role in the Fictional World

America Singer functions not only as female main character in the first three books of the series but also represents several social roles which underlie a constant transformation as the story progresses. Despite her passionate engagement in social issues and their improvement, she does not fulfill the criteria for a savior as there is no indication of an apocalyptic prospect for her home country or city of origin. Furthermore, the lack of immediate deadly threats implies that the protagonist’s role is mainly located in a smaller environment as well as in the subtle background rather than the public. Although she takes on the responsibilities of a queen at a later stage, her efforts in this position are never directly described in the novels, while her way to the throne and her origin are. The dystopian framework is continually present throughout the first three books but not as persistently portrayed as if in need of a heroine rescuing the population from their extinction. Hence, America’s efforts to abolish the caste system and provide freedom to the people who are caught in it are mostly quiet, strategic actions planned in the background without public notice and depicted violence. She therefore claims the role of a benefactor rather than a warrior which is commonly associated with a heroic figure.

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At the beginning of the first book, the protagonist is described as unsuspicious young girl belonging to a lower caste family categorized as musicians with no particular power to reasonably aspire the position of an influential person with the ambition to change the social system the kingdom is separated into. The function attributed to her within the family, however, is one of considerable responsibility as she is the oldest of her siblings still living with their parents. She frequently sees herself as protector and caretaker of her younger brother and sister, both in emotional as well as financial matters. Similar to this, she also takes on responsibility for her boyfriend Aspen, and supports him with as much money and food she can afford to save. Based on this, the main character ascribes a role of considerable responsibility and maturity to herself. She therefore merges the traditional female role of a mother, defined through the caretaking of children with the one typically associated with the father figure who stands for the family’s financial security and the assertion that everyone is fed. While Aspen briefly declares this as a position predestined for him as the male part in their relationship, most of the time America embodies a strong young woman consumed by the thought of her family and those she loves who is not attacked or criticized for her essential role in the family. Furthermore, one of the reasons she chooses to participate and at a later point remain in the selection is the responsibility she feels towards her family and the financial support they receive during her time in the competition.

Despite some signs of rebellious attitudes in America’s character prior to the actual participation in the selection, her experiences in the palace contribute to the increasing revelation of her desire to improve the social system and dissolve the castes. In the course of the competition the role distribution shifts and tends to include the female protagonist in both

Maxon’s thoughts on new measures for the country as well as the public broadcasting of radical ideas of change and justice. Hence, the characteristic role of the caretaker as depicted when it comes to America’s closest relations is extended to one of a benefactor whose main

156 interest lies in the wellbeing of the majority and social justice for the population. While there is more intellectual and strategic thought and action behind this position than physical fighting skills and battle situations, she increasingly claims the responsibility of abolishing the caste system. This can therefore be seen as an enhancement of her initial role of a caretaker within the family but also symbolizes the feeling of being chosen to save a greater good for altruistic reasons. Although the protagonist does not pay with her life or any life-threatening danger during her fight for improvement, she still represents a dystopian heroine in an altered form.

The absence of combat scenes and continuing danger she voluntarily puts herself in is compensated by minor scenes of attacks on the palace and meetings with rebels while in disguise. During the selection process, she continues her efforts to achieve her goal of social improvement even when she briefly loses touch with Maxon and seems to be eliminated from the competition she fights for her beliefs and self-chosen mission. The success she has with it after rejoining with Maxon however is not stated in the novels while she is the main character.

Instead her actions and to what lengths she goes to make them effective are recounted in the last two main installments in the series where America retreats to a supportive character in favor of her daughter. Nevertheless, she is portrayed to be fulfilled by her self-acclaimed role and the success she reached with it. Despite the new rebellious forced rising in the midst of the birth of a new social system, the function attributed to America in the first three novels corresponds with the one of an altered heroic figure in a dystopian universe, in this case the strategic benefactor and activist operating mostly from the background and inside the responsible institutions rather than publicly attacking them from the outside.

Eadlyn does not hold a position similar to her mother, as the caste system had already been abolished at the time she overtakes the throne. Nevertheless, she defines her on role in the story as one coined by responsibility and leading qualities. According to this, the protagonist of The Heir and The Crown is placed in a position of power without the direct and violent

157 confrontation of the population as her mother experiences in the first part of the story.

Additionally, there is no threat of a dystopian system any longer as the most significant aspect in the social and political system of the country is the existing monarchy. Although Eadlyn tries to dissolve it in the end of the series, it is no life-threatening construction in need of a savior. Based on this, the young woman accepts a position of decisional power and liability which is predestined to be handed to her but does not play a subordinated role in the overall structure of the dystopian setting introduced in the first three novels of the series. In contrast to this, the main tasks of Eadlyn’s character are the inducement of an altered power distribution on a political basis as well as the defense of her lifestyle and her qualifications to the throne. In contrast to America, her daughter is not forced to face active rebellion and resistance or the need to abolish a limiting social structure of oppression and financial preferences awarded to members of higher castes. With this, Eadlyn is mainly consumed with the development of her own character and aims in life, as well as the defense of her rights and worldviews rather than a role of public responsibility engaged in the fight for social justice and equality.

14.5. Character Development

Since America starts out as a rather self-confident protagonist as viewed from the surface, but encounters emotional breakdowns, backlashes and insecurities in the course of the story, her character development becomes visible in her methods to cope with her changing living circumstances as well as with the forces threatening her engagement into social issues. While there is a considerable developmental process launched in terms of emotional preparedness and confidence in her own skills and opportunities, her determination and inner beliefs do not

158 need further grounding as they are present from the beginning of the selection and her participation in it.

The most important aspect in America’s character development is her assimilation to the altered living circumstances prevailing in the palace without losing her determination and inner strength regarding her beliefs and definitions of right and wrong. While a considerably high percentage of self-esteem and dedication is already present in the protagonist at the beginning of the first novel, she recurrently seeks assurance and approval of her actions and the appropriateness of her participation in the selection. Although she raises the impression of a mature and responsible person, her innermost feelings are often consumed by fear and insecurity. In order to overcome these negative influences, she is drawn to her father who functions as a reference person to his daughter. His support and encouragement are tools to the main character that help her focusing on her aims. Additionally, it gives her the strength she requires to continue with her determination in social issues, particularly the deconstruction and abolishment of the case system. Although the young woman is introduced to the reader as a considerable strong character, the necessity of approval is given as a result of the changed living situation in the palace and the forces of resistance she encounters against her person. Based on this, the outer influences which are shaped by competition, seemingly more responsibility than she is familiar with, the reality of her scope of action as well as the king’s hostile attitude towards the protagonist, can only be eased with positive reactions. These reactions are connected to the happy memories of her family and her home, embodied mostly by her father. The counteraction to the negative and hindering impacts therefore prevent America from falling into insecurities and doubts and facilitate her character development as she gains more emotional strength than before. This ultimately leads her to take actions and actively participate in the competition without betraying her values and most anticipated social changes. Despite the self-conscious and confident start the main character

159 presents at the beginning of the first novel, she acquires a considerable amount of additional knowledge and personal experiences that contribute to her final description in the series. The character development taking place in her case mainly serves the reassurance and further promotion of her self-confidence and self-esteem. While America is a determined and mature person at the beginning, she advances to a more confident woman who seizes the opportunities presented to her to actively change her country’s social and political system, defined as a post-war dystopian environment, at the end of the third book. Her further description as a supporting character do not undergo any developmental processes due to the fulfillment of her resolutions and the exchange of female protagonists in the fourth novel.

Eadlyn who is introduced in The Heir, faces different processes and challenges in her character development which are partly dependent on the outer circumstances as well as the confrontation with her innermost feelings and ideas for the near future. While the dystopian social and political system of her home country is not as visibly present as in the first three installments to the series, hindering factors are mostly situated in the public’s opinion on and distrust towards the female main character and her future position in the kingdom’s political leadership. Since she is portrayed as strong and independent person from the beginning of the fourth book until the end of the series, the most significant change lies in her approach to her own life and the way she is leading it. She refused to host a selection and search for a husband, but revokes this stand at the end:

“I want to be clear,” I said, sitting down in Dad’s office. “I have no desire to get married.” He nodded. “I understand that you don’t want to get married today, but it was always something you’d have to do, Eadlyn. You’re obliged to continue the royal line. I hated it when he talked about my future like that, like sex and love and babies weren’t happy things but duties performed to keep the country running. (Cass, 2015: 26) Based on this, her romantic relationships as well as her tasks as heir to the throne and the later retreatment from her powerful position are proof to her altered consciousness and personality.

Eadlyn’s developmental processes are strongly focused on her ability to realize what image

160 she conveys to the outside along with the reasons why she constructed this façade. In addition to the increased casualness and openness towards others, particularly the participants of the selection, another essential aspect in her character development is the approach to herself and following self-identification which is made possible as a result of the reflections triggered by the inner processes initiated by the changing outer influences. The hindering factor in this process is the pressure that is put on the protagonist by the public and by the expectations she holds towards herself. While a considerable part of these expectations is related to the relationship she should be engaged in by the end of the selection to present to the public, which is suspicious of her initial resolution of taking on the role of the reigning queen without a husband next to her, some doubts are also raised by her personal confusion evolving during the competition. This implies a subconscious, and at a later stage conscious, reflection on her future and the options it holds. Due to this, her final public appearance in The Crown states her altered views:

“Before the Selection I lived my life within a small circle of acquaintances. I admit, my greatest concern in the world was my own comfort, and to maintain it I was willing to sacrifice a vast pool of things, including the well-being of so many around me. I’m not proud of this.” (Cass, 2016: 274) Although the developments are closely tied to Eadlyn independent appearance which can be linked to emancipation and gender equality as she aspires a career and personal life contradicting traditional values as lived in the monarchic family within the fictional society.

Despite the slight return to this tradition with her decision to engage in a relationship with a male character in the story and the withdrawal from her powerful position, the character development is not negatively affected but redirected her aspirations. The compromise of breaking the traditional rules by choosing someone who is no official contestant of the selection and deconstructing the power system of the country, particularly the monarchy, represents a breach with stereotypical attitudes. Eadlyn is enabled to take this turn in her life

161 based on the constant influences encouraging her character development and pushing it forward once it is initiated.

While both female protagonists undergo character development processes in the course of the story, different aims are pursued and achieved. America as a main character is vital to the improvement of the country’s social system and therefore establishes the grounds for further political changes as proceeding under her daughter’s reign. Hence, the developments affecting her personality also benefit the abolishment of an aspect of a dystopian environment and with this complement the improvement of a greater majority. On the other hand, Eadlyn has to focus on her position in the story and her own opinion on it which also impacts the country’s political system to a certain degree but mostly serves her individual identity and role in society.

14.6. Female Supporting Characters

Aside from America and her daughter, who represent the two main characters in the book series, several other female figures appear in the story who do not only affect the protagonists but also depict patterns of the portrayal of women and femininity. The most significant characters that reappear in almost each of the books are America’s mother, Maxon’s mother,

Marlee, Celeste, Elise, Kriss, America’s youngest sister, May, and the maids that accompany

America throughout her participation in the selection.

America’s mother embodies an image of a typical housewife as far as her position within the family is concerned. Although she is as responsible for the financial security of her children as her husband and America are, she is still more often present in domestic scenes that involve cooking and childcare. While her daughter indirectly claims a similar position, 162 the motherly image still remains fixed. In addition to the housekeeping and the emotional representation of a worrying mother who takes high interest in her children’s good upbringing and therefore frequently attempts to hide their financial problems from her youngest son and daughter, she also depicts a woman who tries to connect with America over typically feminine associated attributes. These include her appearance as well as possible relationships. Despite the financial reason behind the efforts she puts into convincing America of the benefits resulting out of a participation in the selection, the desire to see her daughter in both a higher caste as well as an outer appearance commonly referred to as feminine play a considerable role in her thoughts and imaginations. The excitement for her daughter does not vanish during the selection process but wavers in between the attacks as the concerns grow over the future path she might have directed America on. Nevertheless, the admiration for both the social advancement and the altered perception of her daughter remain a considerably strong aspect in the protagonist’s mother. Since she insists on America’s participation in the first place while her father does not seem as interested in the mystification with the royal competition his wife and youngest daughter share, the main character feels more attached to him and continually consults him for advice and assurance in the course of the selection. While

America’s mother’s high cherishment of her daughter’s alterations in both physical aspects including outer appearance as well as the social and financial improvement of herself and the remaining family members is still present in the fourth and fifth book, her fixation has grown weaker. Although she still takes interest in her granddaughter’s decisions and intentions, she is not as persistent as she is with her own daughter in the first three installments of the series.

Nevertheless, she functions as counterpart to her youngest daughter who reappears as

Eadlyn’s aunt in the last two novels and holds a contradiction position to her mother’s in terms of relationships and a woman’s appropriate lifestyle.

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America’s youngest sister is still a child when she participates in the selection but functions as strong representation of emancipated and strong-willed women as an adult. Although there is a limited number of scenes featuring her active involvement in the story, it still conveys an image of liberation and individuality and a young woman who pursues her personal aims in life without bowing down to social standards and norms as imposed on women within the monarchic system. May’s persistency in the discussion on Eadlyn future and her attitude towards marriage and the throne mirror her own perception of a woman’s rights and lifestyle opportunities. Although May’s opinions can be described as rather radical in certain matters, they function as direct representation of emancipatory aspects, also present in feminism and common goals defining the movement. Hence, America’s youngest sister, embodying the youngest generation of the original set of characters introduced in The Selection, stands for a new and modern way of thinking and living which included not only traveling and discovering yourself but also the right to choose your profession and partner without limitation. Although this concept is not as easily transferred to other female characters in the novels, also including Eadlyn, May’s attitude towards life impacts those she shares it with.

While her mother is not as positively influenced by it as Eadlyn is, it still remains in their thoughts. Despite the decision to engage into a relationship, which contradicts Eadlyn’s initial refusal to present a husband to the public in order to gain approval of her powerful position in the monarchy, she acts more freely and self-confident in terms of relationship structures and the construction of her future life. The choice of her partner as well as the establishment of a political system run by citizens rather than members of the royal family can be seen as emancipatory factor in her character description that corresponds with her aunt’s liberal and modern worldviews. Based on this May represents a progressive image of femininity and womanhood in the post-dystopian civilization of The Selection series.

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In contrast to May, Maxon’s mother is depicted as a traditional queen who serves the population next to her husband without actively being involved in politics. She focuses on beneficial work and is frequently seen responsible for the smooth process of the selection at a later stage when she joins the girls in the Women’s Room. Generally, the most important space claimed by the queen is the only room in the palace that is restricted to female use.

Although men are allowed to enter it, they have to ask permission which suggests that this room is the only possibility to retreat from public display, behavioral expectations, social norms and oppression by the male gender. Despite the historical inclusion of a room predestined to female use only, the reference to Virginia Woolf’s A Room For One’s Own implies the necessity to seek refuge from a world of restrictions and stereotypical representation of women. The queen therefore mimes the image of a woman which society demands to perceive while her personal opinions differ from these requirements and expectations. Although it is never directly stated whether she is a victim of domestic violence as her son is, it is proven that her husband betrayed her with another woman during their marriage. As she suffers from the emotional pain, she still keeps her countenance in order to fulfill the demands of the public. The recounting of her past and origin as well as the way her marriage began on the grounds of love informs the reader of her deep alliance towards her husband. Since she does not have the strength to confront her husband with the pain he causes, she retreats to herself and other female characters using the Women’s Room. While it provides a refuge from male characters, it also shades her from her life and the obligations that come with it. This can also be transferred to the general traditional perception of a woman’s role in society, which used to be restricted to domestic tasks and family life, as the

Women’s Room provides a space for women who need to pursue their own goals and free themselves from the restricting lifestyle that it imposed on them. Thus, Maxon’s mother serves as example of oppressed women, suffering not only from emotional and physical

165 violence as practiced by their husbands but also from the expectation to mirror the image of a traditional wife who stands with her partner as demanded by social norms, and seeks a safe and personal space to retreat from all this for short periods of time since she is not able to break free from the boundaries and restrictions.

Marlee plays not only an essential role in the story due to her deep friendship with America, but also conveys a certain stereotypical representation of femininity. She is introduced as a rather shy and modest person, belonging to a middle caste family. The friendship between her and the protagonist serves both as they are considered outsiders among the other contestants, whose origin lie in higher castes, which eventually changes, but binds them together from the start. Despite her interim behavioral change at the time she becomes more popular and also advances in the public’s opinion to the favorite participant, Marlee remains a female character who is shaped by an understanding and caring nature along with a soft heart and unresisting personality. Due to her lack of intense interest in political and social change, she is also considered a favorite of the king, who judges according to the simplicity of integrating his son’s wife into the existing system of oppression and voiceless royal women. Since Marlee matches this description with her character, she functions as representation of quiet but warm- hearted women who do not feel the urge to take actively part in her husband’s profession but subsides to her task as a good mother and wife. Based on her deliberate decision against a royal life, and the punishment her breach of rules results in, she does not subordinate herself to this system of obligations and restrictions but follows her emotions despite the repercussions she faces. In general, however, this character does not embody emancipatory progress or a modern portrayal of women but rather refers to one of the traditional depictions of a shy young girl whose modesty and decency are her strongest personality traits. Due to her inner detachment from the monarchic system she applied for, a slight change of her character is detectable which implies the existence of her own strong will and the disposition to fight

166 for her right to live her life the way she imagines it. Therefore, the initial façade of quietness and subordination is replaced by the determination to achieve her goals despite the hindering factors appearing on the way towards it. Following this, she holds a position of a warm- hearted woman who cares for the people she loves and fought her individual battles within her own social environment in the last two books that neither define her as a radically progressive nor a traditional role model of womanhood.

In contrast to Marlee, Celeste is a highly provoking female character as she conveys a strong image of femininity which is mostly negatively coined throughout the first three books in the series. This connotation roots in two main factors, namely the heavy use of self- identification and self-definition based on outer appearance, looks and body image and arrogance justified by her willingness to use her body in order to achieve what she wants.

While the reason for the selection is to find a wife for Maxon, Celeste is not as interested in him as a person as she is in the status of a queen and the popularity she would gain along with it. Although it can be argued that she focuses on her personal goals and fights in her own way to achieve what she wants, the methods she uses to reach this goal contradict the emancipatory image of a woman who is not dependent on her sexual attribution to advance in society and work. Her efforts to win the prince over are dominated by this approach:

Maxon was all but pinned to the wall by Celeste’s body. Her free hand was pressed against his chest, and her leg was wrapped around his, the slit of her dress revealing her long leg, tinted and slightly blue in the dark of the hall. She pulled back slightly, only to fall back into him slowly, teasing him it seemed. […] The strap of her dress fell off her shoulder, leaving what seemed like miles of exposed skin down her back. (Cass, 2013: 257) Aside from fraud and blackmailing she makes use of to eradicate her competition, she recurrently refers to her better qualifications to marry into the royal family on the grounds of

167 her high caste as well as her appearance which corresponds with the beauty norm prevailing in society. This is view is also presented through Apen’s perspective:

I left the door open as always and bent down by her bed. “How have you been?” “All right, I suppose.” But I could tell she didn’t mean that. “Celeste showed me this article today. I’m not sure I want to get into it. I’m so tired of her.” What was it with that girl? Did she think she could torture people and manipulate her way to a crown? (Cass, 2015: 228) The frequent association of entitlement and qualification with looks and body image draw a picture of superficial values and the reduction of women to their sexual attractiveness and promiscuity as classified by social standards. With this the intention of feminist and emancipatory influences and movements aiming to free women from sexual stereotyping is backlashed. However, Celeste eventually reveals a personality hidden under the façade of superficiality which is hereby deconstructed. The worries and anxieties the character feels and ultimately shares with America indicate that Celeste is forced to convey an image of coldness and calculability in order to protect herself from potential pain on the one hand and the discovery of her true personality on the other hand. Since she realizes her mistakes and wrong behavior at the end of the third novel, the negative image of femininity as represented throughout the majority of scenes featuring the character is partly dissolved. The reason why it cannot be fully erased with her confession is the necessity she feels in the course of the story to use negatively connotated perceptions ascribed to the female gender as well as the female sexuality to gain her own benefits from. Apart from the character’s own drive behind the tools with which she represents herself and the female gender, the way the public conceives the created image proves the fixation on body and beauty norms in women rather than intellectuality and personality. The continuing rating of newspapers and magazines listing Celeste as first choice for Maxon are mainly based on beauty criteria created by the established norms of a desirable outer appearance. Although it changes in the end, the persistency with which the character is treated as best choice in the selection grounds on the

168 obsession with predefined beauty which is also existent in the fictional world of The Selection series. Hence, Celeste embodies the social construction of female beauty and the strong fixation on it, viewing it as a tool of success as well as a basis of judgment of women rather than a degradation of inner values and intellect connected gender biases.

While Celeste displays the obsession with popularity and beauty, Elise is a female character who mostly places herself in the background but symbolizes the strong involvement of women in areas often associated with the male gender. Since Marlee, America and Celeste are awarded with a considerable part of the attention paid on the selection and its participants,

Elise is not considered a potentially victorious contestant until her advancement in public consciousness. In scenes featuring her amongst some of the other girls she is often characterized as quiet and intelligent but not as sociable as the majority of her competition.

When she is taken into closer consideration as future queen at the end of The One, she slowly lets her guard and disguise down. Nevertheless, Kriss represents a more influential character than Elise in The One. Her true purpose for being part of the selection process is only revealed shortly before the attack on the ceremony when Maxon briefly decides to choose her over

America. The fact that she works for an underground organization and intends to use the marriage with Maxon to negotiate between the monarchy and the rebels signals a potential heroic figure as typically included in contemporary young adult dystopia. Despite the feelings she develops for the prince in the course of the novels, the initial intention behind her participation serves the improvement of society and the reestablishment of peace within the country as well as outside of it through its relations to other nations. Since Elise survives the attack on the final selection ceremony, in contrast to Celeste, her further life is briefly included in the last two books of the series. Although Elise’s and Kriss’ lives as adults are shaped by cultural factors of oppression and restriction, they represent characters who partly invade a predominately male field of action and therefore can be categorized as strong

169 embodiment of female characters defying the stereotypical gender biases often woven into literature.

In addition to the previously mentioned female characters in The Selection series who function as both negative and positive role models of femininity as well as mirrors of social norms and restrictions, America’s maids also play a role in the way women are depicted in the novels. While they do not claim a superordinate position in the story, their individual experiences and history conveys different forms of treatment of women woven into the texts that signify the variety of oppression of and violence against the female gender practiced by men as well as the society as a whole. Due to the survival and reappearance of Lucy, she is the most present of the three maids ascribed to America during the selection. Her past, which is shaped by physical violence, loss and abandonment in addition to her hysterical breakdowns surfacing as a reaction to her traumatic experiences highlight the strength she keeps finding in herself and those around her to develop and live a different life. Apart from this, the inclusion of a fictional character in a young adult novel, despite being categorized in the dystopian genre, whose past is filled with violence that occasionally still reaches into the present and also thematizes the incapability of receiving a child indicates a conscious involvement of different portrayals of women and their sufferings. Since the traditional image of a woman includes the stereotypical representation of a wife, housewife and mother, the inability to have children often symbolizes an unfeminine aspect in traditional perceptions.

The deliberate direct references to Lucy’s and Aspen’s struggles with it correspond with this deprivation of womanhood as well as the deprivation of their status as a complete family as viewed in the traditional sense. However, their final reaction, namely the acceptance of their living situation and the appreciation of what they have revokes the portrayal of women tied to having children and takin on the role of a mother. With this, a diverse background of female representation is achieved in The Selection series.

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Although almost each of the female characters described in closer detail in the course of the five main novels as well as the complementary sixth installment is married or engaged in a heterosexual relationship, the diverse descriptions of their personalities and experiences contribute to a picture of serious suffering and the strength and determination to organize their lives. Furthermore, it creates an image of strong women who mostly fight for their beliefs although their different pasts and traumatic experiences are hindering factors in their developments. Since Mia refuses to settle down the way the remaining female figures do, she embodies an alternate lifestyle and hence assists the establishment of a modern depiction of women in The Selection series as compared to traditional stereotypical portrayal of gender biases and discrepancies.

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15. Portrayal of Female Characters in the Novels

15.1. The Hunger Games

The female protagonist, Katniss, represents a considerable part of the patterns used in the portrayal of women in The Hunger Games trilogy. A range of diverse features contribute to the depiction of the young woman who is characterized as strong-willed and determined throughout the story. However, certain developmental processes are necessarily applied in order to present the final display of the used feminine role model. Aside from the main character’s personality and inner developments as described in the novels, outer influences represent a significant factor in the portrayal of women in this trilogy.

One of the most important aspects in Katniss’ description is the strong sense of responsibility towards her family and loved ones. Due to her father’s early death, she claims the role of the family head and cares for their survival and wellbeing. Further, she mirrors a high degree of maturity as caused by her role within the family. This responsible position is extended to non-relatives as well, due to her hunting skills and the demand for additional meat in the face of food reductions. While the protagonist is partly forced into this mature role within her social environment, an image of female characters entrusted with responsibility surrounded by constant danger and misery is created. Thus, the protagonist is awarded with an indispensable determination and hereby defies the socially prevailing stereotype of weakness and the need of being saved by men as frequently attributed to the female gender.

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In terms of typically associated characteristics based on gender-related perceptions, The

Hunger Games novels depict a role reversal regarding the female protagonist. Although

Katniss is described as insecure and emotionally connected to her closest ties at times, she mainly represents masculine traits. These include her hunting skills, her general public performances which contradict the expectation of a kind, smiling and discreet young woman, as well as her emotional detachment as observable from the surface. This also affects her performance and self-defense in the Games:

Over the course of all three novels – The Hunger Games, Catching Fire, and Mockingjay – Katniss uses almost every survival technique known to mankind. Hers is a dystopian post-apocalyptic society, where children are selected by lottery tickets to compete to the death in an arena reminiscent to the ancient Roman Colosseum. (Gresh, 2011: 177) Since female characters often tend to be described as strongly relying on their feelings and mostly in need of physical protection, Katniss opposes this predominating image.

Furthermore, the exchange of male and female attributes contributes to deconstruction of social norms and their defiance:

Katniss’ clothing, actions, and attitude reveal that she’s not your stereotypical teenage girl. Far from being boy crazy, […] she declares that she will never have children, because she doesn’t want them to endure a brutal and precarious life under Captiol rule. […] When we consider that both the desire to become a mother and keen attention to physical appearance are strongly prescribed for women in our culture, Katniss stands out as atypical. Katniss bends to feminine norms when she must – that is, when the Capitol makes it impossible for her no to do so. (Miller in Dunn & Michaud, 2012: 145, 146) Hence, the breach with stereotypical portrayals of femininity concerning personality traits and behavioral patterns resembles the modernizing of traditional approaches to gender-related topics as well as the construction of new perceptions.

Nevertheless, the character development included in the story does not only thematize

Katniss’ altered living situation but also focuses on her emotional state. While the preparation for the approaching battles and resistance is necessary to her self-confidence in order to accept her changed role, the emotional advancements attempt an open attitude towards herself and other characters. This is particularly emphasized in relation to the protagonist’s love 173 interests. Due to the unawareness of physical and emotional attraction between her and the two male characters participating in the love triangle, a considerable part of the character development is aimed at the realization, detection and identification of her feelings’ intensity and nature. As far as the relationship structures in the novels are concerned, it corresponds with the commonly applied construct of a love triangle. The power distribution is shifted towards the female protagonist and, therefore, awards them with the opportunity to choose from a certain number of possible partners, rather than the male characters as frequently practiced in classic adult dystopian fiction.

In addition to the responsibility the main character takes on in the course of the story, she also develops a strong sense of altruism. This is represented by the efforts she takes to save the remaining civilization of Panem from the destructive political and social systems suppressing their freedom through the annual Hunger Games and various other restrictive measures. While the initial purpose for Katniss’ engagement in the resistance movement originates from the desire to protect her family and close friends, she realizes the extent of the threats against the districts’ populations. At this point, she advances to the role predetermined for her, namely the savior of the country from an oppressive reign. Although a considerable part of the story is dedicated to the character development triggered by innermost feelings and situation depending influences, the protagonist’s deceased father plays a significant role in her portrayal and impacts her decision to fight for her freedom. Despite the lack of direct assurance and encouragement by living fictional figures, except for Peeta and Gale who function as potential romantic partners, the impact her father has on Katniss constitutes with the male-dominated power within the family. Nonetheless, the need of male approval is not as distinct as the determination and strong-willed personality the protagonist is described with.

Hence, a certain amount of male approval is applied to the female lead structure in the novels but does not outweigh her own ambition.

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Katniss’ general portrayal partly corresponds with prevailing social perceptions and norms but also attempts a modernized description of female characters. While her performance, skills and attitude as well as her role in the fictional world refer to an emancipated young woman, her depiction according to normative body standards, the assumed belonging to the white majority and heterosexuality succumb to the dominating image in Western society.

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15.2. Divergent

The female protagonist, Beatrice, who is chosen for the Divergent trilogy, embodies a strong-willed young woman who is dedicated to the people she loves. While she represents an emancipated character, determined to achieve her personal goals, certain aspects in her description refer to encouragement and affirmation from other people in order to fully believe in herself. In general, a high percentage of Beatrice’s depiction relies on her emotional states and the resulting behavioral patterns.

Beatrice is portrayed as an average teenage girl within her community in the beginning of the first novel but advances to a leading character and heroine figure due to her initial personality traits as well as the developments she goes through in the course of the story:

Tris is identified as Divergent by the aptitude test very early on, but she has to keep it a secret. Obviously, it influences her at the Choosing Ceremony, and she waffles between factions – and symbolically, between the facets of her personality. But she doesn’t really own it until the end of the first book. Still, even before that, it’s when she shows her Divergence that Tris has her most heroic moments. Taking Al’s place in front of the target was an act of bravery, but also of empathy and self-sacrifice. Tris is clever enough to work out what Erudite is really doing with the serums they inject into the Dauntless, and later, to create a plan for getting back into headquarters to stop the simulations. She’s also brave enough to enact that plan, but in the process she must also lead Caleb, her father, and Marcus, talking them through the hard parts of jumping from a moving train (onto a roof, no less). That takes empathy, an Abnegation trait, as well as leadership. (Clement-Moore in Wilson, 2014: 24) An aspect that remains as omnipresent in her descriptions throughout the trilogy is her moral belief. At later stages in the novels, this conviction along with a strong sense of altruism trigger her self-sacrificing attitude towards her own role in the rebellion against the harmful forces competing with each other as well as the later discovered genetical experiment her home town is unconsciously involved in.

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Aside from the protagonist’s moral consciousness, her willpower and focus are references to her emancipated portrayal. While this is partly connected to her passionate attempts to save her family and loved ones, it turns into revenge and the demand for justice after her parents’ death and brother’s betrayal. On one hand, this highlights the close relationship she has to her family, despite her decision to leave her faction. On the other hand, her actions show the responsibility she feels not only towards her relatives and close ties, but also towards the greater good, represented by her home town’s mostly innocent and unaware population.

Although Beatrice is in need of reassurance and encouragement at certain points in the story, she mainly takes her own decisions without interference of others. Based on the fact that her relatives either die in the first part of the series or choose to neglect her, as with her brother’s shifting loyalties, her boyfriend symbolizes the most important source of assurance. However, she frequently agrees to his advices but decides differently for herself. Beatrice does think about her father at times, regarding not only family issues but also his attitude towards her altered character and function in society. Nevertheless, is does not serve as final encouragement to sacrifice herself or engage in action, as her mother displays the most influential factor in her decisions. Due to her position as undercover agent and, as later realized, her full awareness of the experiments being conducted in the city, she frequently appears in the main character’s dreams, thoughts and simulation practices. Hence, in

Beatrice’s case, the trigger factor for her engagement is not male but female and, therefore, inspires her to take revenge and oppose the scientific intrusion along with the rivaling factions.

In terms of her romantic interests, the main character is not part of a love triangle but engages in a consistent relationship with her initiation instructor. Although Beatrice’s fellow initiate, Al, expresses his interest in her, the possible love triangle is not established due to two main factors. First, the protagonist is sure of her love for Tobias and distinctly rejects the

177 second male character. While she feels guilty about the way she conveys this message, her feelings do not change in the course of later events. Second, the potential third person in this relationship structure commits suicide a short period of time after the revelation of his emotions. Despite this impact on the main character’s emotional state, her love interests do not require as much developmental process as the reacceptance of her active role in the rebellion after her forced killing of her manipulated friend. Thus, the traumatizing experience she suffers from is not related to love, personal loss or the living circumstances she is exposed to in the midst of the changing political and social atmosphere to the same extent as it is to her involuntary action against her fellow initiate. Based on this, the character development, focusing on the encouragement of her inner attitude towards fighting and violence she encounters during the measures taken against the oppressive and endangering reigns. Hence, the description of Beatrice’s emotionality and her insecurities is not related to a gender bias but directed towards her individual experiences and the psychological damage she suffers from.

Although the female main character is not exclusively portrayed as stereotypically feminine, the decision to cut her hair before entering the resistance suggests an exchange of female attributes with male ones, associated with strength. However, the author’s explanation negates such a claim due to the drastic separation from her past, Tris intends to initiate with this action. Apart from this, the protagonist’s general description suggests a normative body image except for her shortness. Although it does not contribute to the story’s further progress, she is not depicted as different to prevailing beauty ideals, due to the lack of respective references.

While there is no direct statement regarding skin color, it can be assumed her complexion is light due to the direct mentioning of other characters’ skin tones. Along with her heterosexual relationship, the main character in the Divergent trilogy represents an emancipated woman in

178 terms of determination and personality but corresponds with the portrayal of society’s majority and therefore integrates only a fragment of contemporary feminism’s ideals.

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15.3. The Selection

While the Selection series features two main characters, who are exchanged with each other in the course of the story, both are acknowledged in the analysis of the image of femininity and women established through their individual depictions. Although America is different to her daughter in regard to some aspects, there are several similarities. Amongst other factors, they share the passion about their country and connected profession, despite the different positions they hold. Furthermore, their emotional development is one of the key issues described in the novels, which also affects the plot and the final decisions both take.

America is characterized through the strong responsibilities she feels towards her family and boyfriend in the beginning of the first installment. Based on the fact that she is used to being in charge of financial matters with her contributions to the family’s daily income, the protagonist is presented as mature young woman who also takes on the position of the caretaker in her relationship with Aspen. Furthermore, she “attempts to balance her acceptance of traditional romance and marriage with her growing desire to remake the caste system that controls her society” (Day, 2014: 3). While her daughter is not raised in a similar environment and cannot relate to such a living situation, she is equally responsible in terms of her future profession as a queen. With the life she is prepared to lead, Eadlyn is convinced of the unnecessity of assistance in her job and plans to be responsible for the kingdom by her own. Although the two main characters are confronted with different approaches, they both represent strong women, focused on their goals and shaped by considerable degree of responsibility and maturity without further external interference.

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Since America lives in a socially and politically oppressive country as based on the caste system, she develops a persistent interest in the improvement of the population’s living conditions. This is on the one hand connected with personal experiences and the wish to afford a better life for her family, on the other hand it relates to the growing desire to end the restrictive structures for the entire civilization in order to guarantee equal opportunities rather than birth rights. Thus, the character’s aspiration behind her actions originates from an omnipresent sense of justice and equality as well as altruistic attitudes. Although Eadlyn shows similar traits in her personality, she does not feel for them as passionately as her mother, which is partly due to the changed living circumstances in the books she embodies the protagonist but also dependent on her individual character development, which focuses on her emotional abilities and empathies. The character development both protagonists are forced to undergo in the course of the story is mostly aimed at the advancement and openness in emotional matters as far as Eadlyn is concerned and the emotional preparation to her future in

America’s case. Further, both are affected by the thematization of love and relationships, integrated in the novels through the selection process.

Based on America’s participation in the selection hosted by her later husband, a conflictful approach to love is predestined on the grounds of her involuntary separation from her first boyfriend prior to the competition. Since she is still emotionally attached to Aspen for the major part of the selection, a love triangle is established when she realized her feelings for

Maxon. With Aspen’s physical presence in the palace and the growing intimacy between the protagonist and the prince, she actively engages in this relationship structure. Along with the impact of her innermost emotional developments caused by the character development in the progressing story, she eventually comes to terms with her feelings and realizes which life she truly wants. In contrast to America, her daughter refuses to engage in any relationship at first and prefers to rely on herself rather than others. As it is revealed at later stages in the novels,

181 she mostly attempts to shield herself from her emotions in order to avoid pain. Since she develops feelings for some of the participants in her selection after all, a structure similar to a love triangle is created. Although it can be claimed that a love triangle exists with the inclusion of the female protagonist, Kile and Erik, the fact that several other male characters are seen as Eadlyn’s possible love interest contradicts this assumption. While Kile and Erik represent the most influential figures in the main character’s innermost feelings, as described in her thoughts, the recurring references to other potential partners such as Henri push the actual love triangle in the background. However, similarly to her mother, she realizes her emotions and decides to pick the men she feels the most for at the end of the series.

Both female protagonists are depicted in need of male assurance, embodied by their fathers, although to different extents and for distinct purposes. America’s strongest and most intense connection within her family is her father, who shares the same interests and similar character traits. Moreover, she is used to talk her difficult life situations through with him and ask for advice. Due to this, his function during the protagonist’s stay at the palace is to encourage her and strengthen her self-esteem. While the young woman is described as strong-willed and determined from the start, she is simultaneously dependent on her father’s constant reassurance and approval of her choices when she is undecided. Hence, America’s focus on her personal and altruistically inspired goals is frequently enhanced by her father. Eadlyn’s relationship to her father is equally harmonious as she is recurrently described to be one of the closest persons of trust in her social environment. Based on the shared professional basis, the female main character, representing the heir to the throne, is in need of his advice. However, she also consults him in personal matters and tries to clarify her own approach to her life with his help. The considerably high number of influencing women in the protagonist’s personal life also contributes to her changing way of thinking and attitude towards her future.

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Therefore, the particular male impact on her decisions is not as clearly present as in her mother’s portrayal.

America and Edalin are both described as average women in terms of body image and therefore belong to the majorly dominating beauty ideal in Western society. Additionally, they are assumed to be white in skin color and engage in heterosexual relationships. Thus, the general descriptions display a conformation to the prevailing perception of beauty norms as well as racial and sexual majority in society, while their characters and personalities advocate emancipatory features resembling a part of feminist ideology.

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15.4. Similarities and Differences

The three dystopian young adult trilogies examined in detail in this case study share some common ground in the methods and patterns used to portray their female main characters, including their general descriptions, personality traits and developmental phases. However, not every aspect is as extensively applied in each of the examples. Factors such as the influence of the characters’ families, their social environment and living conditions but also the structural construction of their romantic relationships vary depending on the book series.

While the distinctions mark the different contents and themes, the similarities correspond with an established pattern, specifically used in the representation of female characters in contemporary dystopian young adult fiction.

One of the most significant characteristics as observed in the analysis is the description of the protagonists’ determination and the connected attitude towards themselves and their changing positions in the respective social and political system. Katniss, Beatrice, America and Eadylin are described as focused on their personal goals, which ultimately affect the majority of their civilizations. Along with this, they are determined to improve their populations’ living conditions and end abusive, restrictive and oppressive practices in their societies. In order to do what they intend to modify in their fictional worlds, each of the protagonists undergoes certain phases of character development, which involve self-reflection and alterations in their behavior and attitudes towards themselves. Despite their initial willpower and their convictions of and beliefs in the right approach regarding social and political issues, emotional breakdowns and insecurities are revealed in the course of the stories. These are described in combination with traumatic experiences such as deaths or the

184 endangerment of loved ones but also due to the changing external conditions and the resulting tasks they are confronted with in order to prevent major destruction and casualties. The increasing self-confidence and acceptance of their essential roles in the fight against the dystopian structures, predominantly reigning their countries, is connected to the reprocessing of the characters’ individual pasts and their trust in their own abilities. Hence, the necessity to reflect on one’s experiences and personal lives prior to the resistance against the harmful ideologies oppressing a civilization is set in relation with the readiness and advanced abilities to fulfill the life-threatening task of a savior and heroine.

A further aspect each of the analyzed novels shares is the structure of their families, also including the fates of their parents. The protagonists are raised in nuclear families, consisting of a mother, a father and at least one sibling. Their extended families, if existent, are hardly mentioned and do not contribute to the story. Furthermore, the father figure remains an influential factor in the female main characters’ lives and frequently triggers certain decisions or encourages them to follow their self-developed goals. Nevertheless, the death in the protagonists’ families is also a common pattern in the dystopian trilogies, as at least one of their parents dies either before the story starts or in the midst of it. Therefore, death in the young women’s closest personal relations and the effect these traumas have on their further lives and decisions is a frequently applied characteristic.

The general approach towards the dystopian environment and its defiance is practiced according to the same pattern in The Hunger Games trilogy, the Divergent series and The

Selection novels. At the beginning of the first installments, the main characters are portrayed as average teenage girls who live by the values and traditions of their individual communities.

Their regular lives resemble the traditional perception of an adolescent’s daily routine, namely receiving education in school or interacting with friends and family members. While America and Eadylin are not depicted attending school in The Selection series, their regular lives still

185 contribute to the construction of stability within an unstable social and political framework. In each case a certain event initiates and releases the protagonists into a fundamentally altered life. In Divergent, Beatrice is forced to take the decision in which community she want to spend the rest of her future during the choosing ceremony, as traditionally practiced in the fictional society at the age of sixteen. Katniss is forced to volunteer for her sister in the reaping for the Hunger Games at seventeen and, hereby, chooses an irreversible direction for her life. Although it is not as drastically connotated as in the first two examples, America is also forced to participate in the selection at seventeen, which changes her plans for the future.

Since the dystopian elements are scarcely present in the last two installments to the series,

Eadlyn’s enforced hosting of the selection is not equally life-changing as her mother’s experience. Nevertheless, the age at which she is introduced to the reader is similar to the remaining protagonists, namely eighteen. Aside from the slow introduction of the characters to the dystopian structures and the alterations they experience due to specific external factors, the age at which these events happen symbolizes an additional similarity, also defining the particular genre of young adult dystopian fiction. Constituting with the characteristic age reference of young adult literature, the selection of ages between sixteen and eighteen states its belonging to this literary branch and represents a common aspect written into the analyzed novels.

In terms of love, The Hunger Games, Divergent and The Selection share certain common features regarding the choice of partners and the depiction of the respective romantic relationship. The most significant aspect in this matter is the fact that each of the female main characters falls in love with at least one male supporting character and is engaged in a relationship at the end of the story. Besides the domination of the socially perceived heterosexual norm, the pattern of displaying the young women with partners rather than being

186 single, suggests that a female heroine, despite being attributed with power and iconized as savior or martyr, cannot achieve her goals without falling in love first.

Although the general portrayal of the protagonists’ relationship statuses is similar in each of the texts, their specific nature and development differ. While the construct of a love triangle is frequently applied in dystopian young adult literature, it is not always part of the story, as demonstrated by the approach to love and relationships pursued in the Divergent trilogy. The majority of analyzed examples, however, integrates this structure in its plot and weaves it around the female main character. Due to the lack of competition, Beatrice’s relationship with her boyfriend distinguishes itself from others in terms of direct references to jealousy.

Additionally, America and Katniss find themselves in relationships or romantic interaction with others than their final pick. Contrary to this, the main character in Veronica Roth’s dystopian trilogy remains in her first relationship until her death at the end of the last installment to the series.

In contrast to the beginnings of the novels, which are similarly constructed, the endings differ in an essential aspect. While Katniss, America and Eadlyn survive the changes in their lives and the restructurings in their countries, Beatrice sacrifices herself for the cause of the resistance and dies at the end of Allegiant. The collective endings are similar to each other due to the fact that the dystopian systems are defied and destroyed. Following this, the first attempts towards a new society and civilization are made. Therefore, the conclusions mostly emphasize hope and new beginnings after the confrontations between oppressive governments and the respective resisting groups. With Beatrice’s death, the common pattern of resurrection after the battles is proven to apply to a majority of genre-specific texts but is no unifying characteristic.

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15.5. Intersectionality and Feminist Approaches in the Novels

Ideas predominating feminist ideals and goals are woven into each of the three book series with differing emphases and methods. Although supporting characters also serve as examples for the integration of such values, the protagonists tend to combine several of them in their personalities. The references to feminism, women’s rights or gender equality may not be directly mentioned but can be traced in the fictional characters’ actions and personality traits.

Whether these similarities are deliberately inserted or not is not to be proven, but the portrayal of strong female characters not only fighting against social oppression and threatening destruction but persisting on their personal rights such as America does in The Selection novels symbolizes a connection to the movements’ visions. However, “[e]ven as these young women actively resist and rebel, then, they also tend to accept that they cannot change every aspect of their societies’ controlling frameworks, particularly as these relate to romance and sexuality” (Day, 2014: 3, 4). In the matter of intersectionality, which is a frequent aspect in contemporary feminism, the supporting characters embody a broader variety of depictions in comparison with the protagonists.

Due to the strong willpower and determination observable in the descriptions of Katniss,

Beatrice, America and Eadlyn, the aspects of gender equality and particular demands in the women’s rights movements can be assumed to be part of the character portrayal. Along with the financial responsibility some of the fictional figures overtake, the equal distribution of work, as in America’s case, and the task to feed her mother and sister, representing the typically patriarchal head of the family in Katniss’ depiction refers not only to the necessity of surviving but also a role reversal happening in contemporary young adult dystopian literature.

Furthermore, body rights are briefly discussed in The Selection in regards to America’s 188 resistance against a particular form urging her to withdraw her right of free decision when to engage in a physical interaction. In addition to this, typically male and female attributes are discussed in the novels as in Beatrice’s behavior, felt as boyish by her partner, as well as her haircut prior to the resistance or Katniss’ masculine performance in hunting. Apart from these factors, the demand for access to leading positions is not only thematized through the general appointment of female protagonists and heroines within the dystopian environments.

Eadylin’s position as first female heir to the throne is not directly set in a dystopian vision but refers to a breach with tradition and the modern approach of granting a woman to be the first female head of the country. Hence, certain interests of feminist movements are included in the analyzed stories.

In terms of intersectionality, however, the leading figures equal the prevailing image of society’s majority. Their identification as white, heterosexual women does not represent intersectional feminism as far as diverse background descriptions are concerned. Although not each of the examined book series adapts the aspect of diversity into the storyline, corresponding characters can be found in The Selection novels and the Divergent trilogy.

While there are no exclusively stated African-American characters in The Selection, Elise displays an Asian-related factor and, thereby, contributes to the inclusion of minority groups.

Further, The Crown mentions different sexual orientations as one of the participants in the selection admits to be interested in men. Nonetheless, the integration of homosexual characters is restricted to male portrayal rather than female. In case of the Divergent installments, diverse and minority characters are represented from the beginning, although limited to supporting positions. In addition to Beatrice’s best friend in her new community, several other persons are described with dark complexions. According to the chosen surname, some of the faction members the protagonist encounters during the story are of Asian origin.

In terms of sexuality, the female as well as male perspective is included. They are embodied

189 by Lynn and a male couple in the last part of the trilogy. Due to the frequency of their appearance and the scope of action admitted to them, some of the mentioned supporting characters could be associated with token characters, integrated into the story in order to include a specific minority group but widely excluded from the actual plot. However, only a few of the mentioned examples can be referred as token characters, as figures such as Elise,

Lynn and Christina are continually mentioned in the respective texts and pay their contributions to the progress of the stories.

Based on the results conducted in the case study, The Hunger Games trilogy features several aspects often involved in feminism but does not state any reference to intersectionality. The

Divergent novels and The Selection series thematized both, feminist approaches as well as intersectionality, although not always applied to female characters. The focus on strong women in the role of leading characters is clearly visible in their behavioral patterns and described personalities, while simultaneously, they do not represent intersectional thoughts as commonly present in contemporary feminism.

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16. Results

In the course of the analysis conducted in the case study based on the three dystopian young adult book series The Hunger Games, Divergent and The Selection, as well as the examination of four additional trilogies in order to establish a broader picture of the genre’s methods used in the depiction of women, certain aspects are recurrently applied. Subsequently, they create a pattern according to which a majority of recently published fiction in this literary subgenre, which emphasizes the inclusion of female leading characters, is constructed.

While the integration of traditional feminist ideas and references, ranging from gender equality and the defiance of stereotypical, gender-based role distribution to body rights and the suspension of gender-related character attribution is observable to a considerable extent, values represented in intersectional feminism are frequently omitted. Each of the female protagonists in The Hunger Games, Divergent, The Selection, Legend, Delirium, The Testing and Matched conveys inner strength, determination and the demand to end social oppression.

In their descriptions, however, they depict a socially approved majority associated with normative body ideals, sexual orientation and complexion. While the awarding of women and adolescent girls with powerful positions, responsibility and influence is entrenched in this particular literary branch, these attributes are widely restricted to a homogenous group of people. According to contemporary feminist ideas, which rely on inclusion and diversity to a great extent, the empowerment of female characters is practiced one-sided.

Although most of the examined novels include diverse female characters and display them as emancipated young women either from the beginning or in the course of the respective story, intersectional aspects are only observable in supporting characters. Since the protagonists of the three main book series as well as the four dystopian trilogies resemble the

191 commonly applied characteristics of light complexion, Western features and heterosexual relationships. Contrary to this, supporting characters who are often included as close friends or allies at later stages in the novels, belong to minority groups. The distinctions between them and the protagonists is based on their ethnical heritage, racial background as well as sexual orientation. Furthermore, this distinction is mainly present in the globally well-known books of The Hunger Games, Divergent and The Selection series than the less popular examples. While this does not necessarily apply to race and ethnicity, sexual orientation of female characters is rarely discussed or questioned in The Testing, Legend, Matched and

Delirium. If the issue is mentioned, it is connected to male rather than female characters.

Generally, male supporting characters in all of the analyzed novels are portrayed in a more inclusive and diverse way as they are frequently described with darker skin color and same- sex relationships.

In addition to the unbalanced and unequal depiction of intersectional matters in female fictional characters among themselves as well as in comparison with their male counterparts, the male influence on female leading figures remains a heavily present factor behind the women’s actions. Despite the difference Divergent’s Beatrice and The Hunger Games’

Katniss make in this analysis as they act according to their personal convictions and desire for revenge, which mostly contradict their boyfriends’ or male colleagues’ opinions and pleas, the majority of female characters in the examined books series is impacted by direct or indirect male guidance. Moreover, many of these characters display the need of assurance. The majority of female leading characters in the analyzed texts are dependent on their fathers or father figures, whether living or dead. Indirectly, this also portrays an aspect of considerable influence on both Beatrice and Katniss, as their fathers are dead when they achieve their responsibilities. Hence, the male trigger factor in the powerful positions assigned to the female gender in young adult dystopian fiction is omnipresent in their thoughts, actions and

192 developmental processes, which symbolizes a regression amongst the progressive patterns of female representation used in their portrayal in this specific literary genre.

In terms of a general depiction of the female gender in young adult dystopian literature, the placement of women in leading positions represents an alternative approach to their inclusion in classic dystopian fiction. Hence, the methods and patterns used to depict femininity in this particular genre have improved. In regards to the lack of diversity as thematized in intersectional criticism, the integration of supporting characters, who do not exclusively resemble token characters, could be assumed to initiate an altered approach and the prospect of an increasing focus on leading figures of racial and sexual backgrounds, not constituent with prevailing, standardized societal perceptions, similarly to the advancement of the general portrayal of women in young adult dystopia. With this, the influence of contemporary feminist ideals would be fully acknowledged, while its present contribution to this literary subdivision is mainly aimed at predominating societal perception.

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