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Female vs.

Male monster characters in Fantasy Literature


The following discussion is based on the presentation of monsters in literature and
how it varies according to gender. Monster is defined by the Oxford English Dictionary as:
(1) Something extraordinary or unnatural; a prodigy, a marvel; (2) An animal or plant
deviating in one or more of its parts from the normal type; spec., an animal afflicted with
some congenital malformation; a misshapen birth, an abortion; (3) An imaginary animal
(such as the centaur, sphinx, minotaur, or the heraldic griffin, wyvern, etc.) having a form
either partly brute and partly human, or compounded of elements from two or more animal
forms; (4) A person of inhuman and horrible cruelty or wickedness; a monstrous example of
(wickedness, or some particular vice); (4) An animal of huge size; hence, anything of vast
and unwieldy proportions. A monster is also characterized by the embodiment or
personification of cultural anxieties and fears.
Cultures create and ascribe meaning to monsters, endowing them with
characteristics derived from their most deep-seated fears and taboos. The
body of the monster, then, becomes the site of these cultural proscriptions,
representing the taboos of the societies that spawn them: "the monster's body
quite literally incorporates fear, desire, anxiety, and fantasy , giving them
life and an uncanny independence. A monster cannot be contained. A monster
disobeys its master, overspills its margins, and consumes its benefactors.
(Lindsey, p.3)
As children we are constantly presented with monsters in different fairy tales and
movies. In these stories we have seen that the representation of female monster has always

been the witch and for male monster we have a variety of representations like the werewolf,
the vampire and the beast. We can always perceive that the major theme of these fairytales
resides on conquering the monster. The monster can be of the opposite sex (Red Riding
Hood, girl vs. wolf) or of the same sex (Cinderella, girl vs. stepmother). Gender disparity is
not only seen in fairytales and literature, but has also been a topic which has spanned
through human history. Until now I have seen female characters portrayed in two ways: (1)
Going along with cultural standards:
As innocent, submissive and devoted wives () a generous girl, full of
disinterested notions about providing for the declining years of her parents,
and the increasing demands of her young brothers and sisters, [who] resolved
to consecrate her life to them, and after dismissing her lover, determined not
to marry at all. [She] devoted herself most assiduously to the care of the
household, and nobody knew how much she suffered, for she tried to be
cheerful and to make others so. (Laffrado)
(2) Deviated from normal cultural standards: As a mad woman, vain, proud,
deviant, uncontrollable, and executing a degree of authority through manipulation.
(Laffrado; Oikkonen) In contrast, male figures in literature are typically described as
strong, adventurous, independent, and capable. Men are rarely described as people
that demonstrate emotions of sadness and fear. (Singh)
This paper will not consider appearance as part of the analysis; it will focus on the
way in which certain characters represent monstrosity. During the semester I could see that
the major writers of fantasy literature were males, so I think this will also contribute to the

sex-gender disparity and the way monsters will be represented. The books and movies, read
and seen on class made possible the analysis of female-monsters created by male writers,
male-monster created by female writers, and same sex writer and monster. The female
monsters that will be analyzed in this paper are: Mal, Karaba, The Queen of Hearts and
Mama Elena. Finally, for the male monsters, Victor Frankenstein, Dr. Jekyll, Mr. Hyde, and
the unnamed monster will be analyzed.
During the analysis of these stories it was clear that female-monsters are represented
as dominant, controlling characters that can be accompanied by others yet they are only
able to maintain this relationship by exercising manipulation and dehumanization of the
people that are around them. The first example of this will be Mal, even though we are not
sure if she is dead or not, she constantly appears on Cobbs missions to sabotage or destroy
his work. Mal appears not only as an aggressive and manipulative woman but also as a mad
one, which was able to plan her own suicide and plot her husband as her killer. Mal: You
promised! You promised! Mal: You said we'd be together! You said we'd grow old
together! (Nolan) Karaba is the sorcerer in Kirikou; she has been responsible of the
disappearance of water and all the men on the village. Although she occasionally interacts
with the villagers she only does it to collect their precious objects (gold), this femalemonster transformed man into her slaves. In Alice in Wonderland, we can see that the
Queen of Hearts is accompanied by soldiers, royal children, other queens and kings and by
her husband. The Queen of Hearts is unreasonable and inconsiderate with her soldiers on
page 118; we could see how she sent three cards to be beheaded for painting the white roses
red. Whos been painting my roses red? Who's been painting my roses red? Who dares to
taint with vulgar paint the royal flower bed? For painting my roses red, someone will lose

his head. (Carroll) Finally in Like Water for Chocolate, Mama Elena is portrayed as an
authoritarian, cold, harsh woman with no compassion, also as the controller of the faith of
each of her daughters.
Mama Elena threw her a look that seemed to Tita to contain all the years of
repression that had flowed over the family, and said: "If he intends to ask for
your hand, tell him not to bother. He'll be wasting his time and mine too. You
know perfectly well that being the youngest daughter means you have to take
care of me until the day I die. (Esquivel, p.6)
Until now we have seen that both male and female writers have represented the
female-monster as part of a family or community. Therefore they are capable of
interactions with other members of society, although these interactions are destructive for
the other character.
On the other hand male-monsters tend to be completely isolated; there is no relation
with family or mention of them. Exceptions of this are Victor Frankenstein and Dr. Jekyll
we see that these characters are in constant interactions with other people. Victor is
surrounded by his family and his science colleagues and Dr. Jekyll is surrounded by his
servants and his friend Utterson. However, they decide to alienate themselves from society
to create their monsters. Mr. Hyde and the unnamed monster appeared without family or
people which whom they could interact so they are portrayed as profoundly alone.
Therefore they are separated by their own natures from all others.
It was as a child when I awoke, I felt cold also, and half frightened as it were
instinctive finding myself so desolate." (Shelly, p. 71)

This last, however, was not so easy of accomplishment; for Mr. Hyde had
numbered few familiars even the master of the servant maid had only seen
him twice; his family could nowhere be traced; he had never been
photographed; and the few who could describe him differed widely, as
common observers will. Only on one point were they agreed; and that was the
haunting sense of unexpressed deformity with which the fugitive impressed
his beholders. (Stevenson , p. 20)
Summarizing what we have encounter until the moment, male-monster are
portrayed by both male and female writers as isolated figures, that disrupt or do not have
interaction with others because of their nature. From these stories, I could also depict that
the female stereotype of being an uncontrollable emotional character is also present as part
of the monstrous persona while male are presented as rather rational creatures.
Female-monsters created particularly by male writers are presented as unreasonable
angry women that used different manipulative strategies to obtain power and submission
from the other characters. This is perfectly represented in in the Queen of Hearts: The
Queen turned crimson with fury, and, after glaring at her for a moment like a wild beast,
began screaming, Off with her head! Off- (Carroll, p. 117). From Mama Elena, we can
see that the urge of control is so big that she also appears as a ghost to force Tita into
submission:
She turned a around and was stunned to find herself face to face with Mama
Elena, who was giving her a fierce look. I told you many times not to go near
Pedro. () What you have done has no name! You have forgotten all

morality, respect, and good behavior. You are worthless, a good-for-nothing


who doesn't respect even yourself (Esquivel, p. 65)
A furious Mama Elena came into her room and said to her: See what you've
done now? You and Pedro are shameless. If you don't want blood to flow in
this house, go where you can't do any harm to anybody, before it's too late.
Leave me in peace once and for all! Not until you behave like a good woman
or a decent one at least!" (Esquivel, p. 75)
On the other, hand male-monsters created by female writers, seem to feel little
emotion. These male monsters also tend to explain their actions in rational terms and try to
convince their adversaries of the hopelessness of resistance. This could be seen not only in
the book but also in Frankenstein movie, when the monster is searching for a companion
and threatens Victor with taking away everything he loves, if he doesnt create it. In
contrast, Victor represents female-monster characteristic, because he is acting just trough
emotion to defy science and create life. Male-monster represented by male writers, present
female-like uncontrollable nature and an animalistic beast like behavior; this is the case of
Mr. Hyde.
And then all of a sudden he broke out in a great flame of anger, stamping
with his foot, brandishing the cane, and carrying on (as the maid described it)
like a madman. The old gentleman took a step back, with the air of one very
much surprised and a trifle hurt; and at that Mr. Hyde broke out of all bounds
and clubbed him to the earth. And next moment, with ape-like fury, he was
trampling his victim under foot and hailing down a storm of blows, under

which the bones were audibly shattered and the body jumped upon the
roadway. (Stevenson, p.17)
Through these stories I could also see that the nature of monstrosity in female and
male monster differed. Female monstrosity seems to be motivated by annoyance,
displeasure or resentment to society, while male monstrosity is only a result of what society
has put them through. To analyze this last point I will use Karaba, Mama Elena, Dr. Jekyll
and the unnamed monster. After watching Kirikou we could see that this female- monster
acted in such horrendous manner because she felt resent for the villagers and because of the
nail that was inserted in her back. In Mama Elenas case she wanted to prohibit Titas and
Pedros love because she was unable to be with her true love and also wanted to maintain
an unbreakable cultural tradition. Dr. Jekyll becomes a monster himself when society
restrictions make him create his dual personality and thus alienating himself. Finally, the
unnamed monster, only acts in a monstrous way response to the rejection and alienation
from his creator and other characters express.
This was then the reward of my benevolence! I had saved a human being
from destruction, and as a recompense I now writhed under the miserable
pain of a wound which shattered the flesh and bone. The feelings of kindness
and gentleness which I had entertained but a few moments before gave place
to hellish rage and gnashing of teeth. Inflamed by pain, I vowed eternal
hatred and vengeance to all mankind. (Shelly, p.169)
Finally after this research I can conclude that monsters and their
characteristics are represented according to their gender. I could appreciate that

cultural and writer sex influences the way monsters are portrayed. A female monster
presents a view of women as horrible, abject, disgusting and against nature
(Lindsey , p.74) which breaks the boundaries of cultural presentation of the perfect
princess that need to be rescued or that is willing to give her all while treated like a
slave. Male monsters are presented with a dilemma that triggers a response that is
traduced to wickedness. Male monster representation is usually going along with
cultural stereotype, in which they are portrayed as intellectual, emotionless beings,
yet the monstrosity of them is linked to animal behavior, protecting the normal
male appeareance. I believe that monsters will always be an important part of
fantasy, because they reflect many of the social problems of our era. It is not simply
a case of convection and literary fashion: literature, even in its most artificial form,
reflects to some extent aspects of contemporary life. (Lindsey , p.81)

Works Cited
Carroll, Lewis. Alice's Adventures in Wonderland. New York: D. Appleton and C, 1866.
Print.
Esquivel, Laura. Like Water for Chocolate. New York: Bantam Doubleday Dell Publishing
Group, 1994.Print
Inception. Dir. Christopher Nolan. 2010. Film.

Kirikou et la Sorcire. Dir. Michel Ocelot.1998. Film.


Laffrado, Laura. Uncommon Wonmen: Gender and Representation in Nineteenth-Century
U.S. Women's Writing. The Ohio State University Press, 2009. Print.
Lindsey, Kayla M. "The Pull of Dark Depths: Female Monsters in Ninetheenth-Century
Gothic Literature." PhD Thesis. 2011. Print.
Oikkonen, Venla. Mad Embodiments: Female Corporeality and Insanity in Janet Frame's
Faces in the Water and Sylvia Plath's The Bell Jar. The Electronic Journal of the
Department of English at the University of Helsinki (2004). Web. Dic. 2014
Shelley, Mary. Frankenstein. New York: Dover Publications, 1994. Print.
Singh, Manjari. Gender Issues in Children's Literature. ERIC Clearinghoyse on Reading,
English, and Communication. 1998. Web
Stevenson. The Strange Case of Dr. Jekyll and Mr. Hyde. New York: Dover Publications.
1991. Print
Monster, The Oxford English Dictionary. Web. 2014.

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