Strong Heroine Quotes

Roland gave her a courtier’s smile. “And what sort of work do you do for my uncle? ” Dorian shifted on his feet and Chaol went very still, but Celaena returned Roland’s smile and said, “I bury the king’s opponents where nobody will ever find them.

I strongly believe that love is the answer and that it can mend even the deepest unseen wounds. Love can heal, love can console, love can strengthen, and yes, love can make change.

I may be in pain, but I am not weak.

You don’t need princes to save you. I don’t have a lot of patience for stories in which women are rescued by men.

I'll let you in on a secret, honey. The knight who has serious chinks in his armor but never falls is the true hero. That means he's won battles and doesn't waste time polishing his armor so he can look good while he rides in parades that are tributes to his glory. He just drags himself back on his steed and keeps right on battling. And if he's the right kind of knight, he never rides alone. The best heroes inspire loyalty. The best heroes keep fighting the good fight, tirelessly, quietly. The best heroes always have scars. If they didn't, the heroine would have nothing to do. It's her job to help the hero let all that stuff go in order that her man can be strong enough to fight on but when he's with her he's free to just 'breathe'.

I'm a damsel, I'm in distress, I can handle this. Have a nice day!

When the fighter steps into the ring, she knows deep in her heart when she looks out into the crowd that there are people who wish to see her fall. Win or loose the fighter...will always get back up again.

A great character needs trials to overcome—experiences to give them depth, to make them vulnerable, relatable, and likable. Good characters need hardships to make them strong. The idea makes sense, but it still sucks if you’re the heroine.

She's the ultimate heroine, strong-willed and independent, intelligent, loyal, but at the same time, she's not flawless, she's not above mistakes, or falling in love.

We're nothing if we're not loved. When you meet somebody who is more important to you than yourself, that has to be the most important thing in life, really. And I think we are all striving for it in different ways. I also believe very, very strongly that everybody is the hero/heroine of his/her own life. I try to make my characters kind of ordinary, somebody that anybody could be. Because we've all had loves, perhaps love and loss, people can relate to my characters

I brandished my parasol at him like a rapier. "You, sir, are an abominable scalawag of a man, and I'll be damned if I let you threaten me.

She was like a heroine in a novel that she herself was writing the character kept protesting that she was too strong for love and yet the narrator went on describing her desire.

Phryne was getting out of the car. Dot closed her eyes. Miss Fisher was about to happen to someone again.

I at least wanted to appear strong and elegant in your eyes just like a manga heroine who’s too perfect to be real - Nana The only person who will ever be my hero is you, Nana - Hachi

I'd never known that I could feel this broken and whole at once.

Broken people are the most dangerous...because they just don't give a fuck

You can tell all Namorn this is what happens when I am vexed," she informed him softly. "Little *bitch*," he snapped. Sandry looked him over soberly. "If you had understood that earlier, we could have avoided this unpleasantness," she replied.

One minute she was just this woman I worked with, the next, she was this woman I couldn't go an hour without seeing.

This is a book for any girl who ever felt she didn't fit in. You are not alone. You come from a long line of bold, strong, fearless women. Glory in that.

She was a predator - a creature of the night who rejoiced in the thrill of the hunt.

Mirror Mirror on the Wall, Who Do I see Before Me? I see a Girl Who Is Fearless Because Her Reflection Reflects Her Faith. - Kailin Gow, Fearless Fairy Tales Series

I’ve done some soul searching… Looked deep within myself, ya know? I've reached the conclusion that 'Fuck You!' is my spirit animal, and some mother fuckers are going to pay. You can help me or you can walk… but I’m in this. I’m in ‘til the end,” Wednesday said.

Kevlar wrist cuffs in place, smoke bombs in left cargo pocket, zip ties in the right, and my handy-dandy, military-grade, metal detector-defying, twin APS daggers snug in their sheaths and hidden inside my steel-toe Doc Martens. Nothing like a well-stocked pair of black cargoes to make me feel girly.

When you push someone's head under water for 5 minutes, they will drown. It doesn't matter if the person is a sinner or a saint. It's just a natural process. If their head is under water, the lack of oxygen will make them drown. That rule applies to everyone, good or bad, equally. It doesn't matter if the drowning person has strong moral fiber. And it doesn't matter if you're a good or a bad person, once you become addicted to drugs. What happens next is inevitable. It's a natural process that happens in everyone's brain, once the drugs take over. So don't ever fool yourself into thinking that only weak or bad people get addicted.

Shut up!' I shouted. 'Why can you not see that my desire to be rid of you has nothing to do with feistiness or women's problems or fear of being caught, but has everything to do with you!

When you fear nothing, you have nothing to fear

She wasn’t going to back down. She knew that. She communicated that. She was here until the death.

In your embrace, I find a sanctuary where I am always safe and loved.

Even when things are at their worst, I refuse to believe all is lost. I will never go down without a fight.

We’re still in the U.S. if that helps,” the young man says. “But like I said, you’re not in Kansas anymore. You’re off the map, down the rabbit hole, and so far through the looking glass that going back… well, that probably won’t ever happen, Celestra.” - Jack Simple, FADE by Kailin Gow

My name is Rosalie. I may be smaller, I may be weaker, but I was born free, should die free. You will not take this from me.

If she can bite a vulture, she can jump a crack. ~Victor Frankenstein

In a world full of uncertainties, your unwavering loyalty is my constant.

My sweet lemming,” he murmured, nuzzling her neck and sending glorious spirals of pleasure ping-ponging throughout her body. “You’ve been quiet and that worries me.” “Why?” she asked, trailing her hand down his banded forearm to entwine her fingers within his. “Because that means you’re thinking, and a thinking woman is usually something to fear.

There's a peculiar thing that happens every time you get clean. You go through this sensation of rebirth. There's something intoxicating about the process of the comeback, and that becomes an element in the whole cycle of addiction. Once you've beaten yourself down with cocaine and heroin, and you manage to stop and walk out of the muck you begin to get your mind and body strong and reconnect with your spirit. The oppressive feeling of being a slave to the drugs is still in your mind, so by comparison, you feel phenomenal. You're happy to be alive, smelling the air and seeing the beauty around you...You have a choice of what to do. So you experience this jolt of joy that you're not where you came from and that in and of itself is a tricky thing to stop doing. Somewhere in the back of your mind, you know that every time you get clean, you'll have this great new feeling. Cut to: a year later, when you've forgotten how bad it was and you don't have that pink-cloud sensation of being newly sober. When I look back, I see why these vicious cycles can develop in someone who's been sober for a long time and then relapses and doesn't want to stay out there using, doesn't want to die, but isn't taking the full measure to get well again. There's a concept in recovery that says 'Half-measures avail us nothing.' When you have a disease, you can't take half the process of getting well and think you're going to get half well; you do half the process of getting well, you're not going to get well at all, and you'll go back to where you came from. Without a thorough transformation, you're the same guy, and the same guy does the same shit. I kept half-measuring it, thinking I was going to at least get something out of this deal, and I kept getting nothing out of it

Nobody wants to admit that mermaids who survive the dangers of the ocean can still be defeated by their own pain." He links his fingers through mine. He squeezes my hand until I look back. "A mermaid's heart is the most fragile thing in the sea. You've somehow managed to keep yours beating. The shield doesn't matter. What matters is you're a survivor.

Fighting is easy. Tranquility is hard.

It seemed to me that Mr. Forrester would approve of a woman who could follow him in conversation and not be baffled by ledgers and currency conversions. I had grossly overestimated him.

But, you see, Jo wasn’t a heroine, she was only a struggling human girl like hundreds of others, and she just acted out her nature, being sad, cross, listless, or energetic, as the mood suggested. It’s highly virtuous to say we’ll be good, but we can’t do it all at once, and it takes a long pull, a strong pull, and a pull all together before some of us even get our feet set in the right way.

A strong woman builds her world by picking up the broken pieces.

I am Serene-Heart-in-the-Chaos-of-Battle. Keep a civil tongue in your head or lose it

Another tug and a yank at my chestnut curls and she snarls at me, “You are so much like her.” This is something my mother often says and never explains. Though it is a great mystery to me it is also a blessing, for she always hurries from the room after saying it.

Come to the jacaranda tree at seven o'clock and you will hear something to your advantage. Destroy this note.' No signature, no clue to the identity. Just what sort of heroine do you think I am? Phryne asked the air. Only a Gothic novel protagonist would receive that and say, 'Goodness, let me just slip into a low-cut white nightie and put on the highest heeled shoes I can find,' and, pausing only to burn the note, slip out of the hotel by a back exit and go forth to meet her doom in the den of the monster - to be rescued in the nick of time by the strong-jawed hero (he of the Byronic profile and the muscles rippling beneath the torn shirt). 'Oh, my dear,' Phryne spoke aloud as if to the letter-writer. 'You don't know a lot about me, do you?

Her way through life had been winding until now, like an unruly stream stumbling its way over hurdles and bumps, oftentimes trickling into those dark, unexpected cracks. But she was like water. Persistent, versatile, never willing to wait.

A strong woman builds her world by picking up the broken pieces.

Some call it brash. Others call it independent. Pick your interpretation.

Love is the lighthouse that guides us through life's storms.

Good idea. I'll do it.

A Touch of Crimson will rock readers with a stunning new world, a hot-blooded hero, and a strong, kick-ass heroine. This is Sylvia Day at the top of her game!

Enough with the games, I know what you are, Nephilim and if you make one move, I promise I will carve you open.” ~Zahara

I missed her smile…the way she would roll her eyes when she thought I was being ridiculous…the quiet way she almost tiptoed when she walked that gave her away as a ballerina…the fact that she could probably give me a fairly decent ass-kicking if she set her mind to it. I missed it all. I missed her.

I’ve succumbed to the absolute power of the man that pulls, culls, calls my unwitting submission. And I’ve embraced the power of my submission to draw him in further, to have him kneeling and worshiping what he’s conquered. I’ve known surrender and strength with him. True freedom. And a hell of a lot of orgasms.

May We Love Ourselves. May We Love Each Other. May We Believe that Our Dreams Can Come True. We Are Strong. We Are Wise. We Are the Heroines of our Own Lives -The Heroine’s Club benediction

Those in the grip of a strong drug - heroin, devil grass, true love - often find themselves trying to maintain a precarious balance between secrecy and ecstasy as they walk the tightrope of their lives. Keeping one's balance on a tightrope is difficult under the soberest of circumstances; doing so while in a state of delirium is all but impossible.

And Mother, I love her dearly, but she flies into a panic whenever I mention women’s rights. As she sees it, it will be so much more difficult to marry me off if I am not only of a weak constitution but of a progressive mind as well.

She was stupid and lonely. So desperate to be touched and loved with a good love. I need you, don't leave me, you're all I have... ~Isadore

Normally, I would have kicked him in the nuts for touching me without my consent.

I'm out of the room in the next instant, like a man wanting breath, after suffocating through the horror of a burrito eating obese man's fart." - Emily Dolt

Any male who uses brutality on a weaker female who has no chance of defense is a coward.

I'll tear down your realm, starting with this castle.

I did not tremble when his eyes met mine. One can only shudder in fear for so long until all trepidation is replaced by unearthly bravery.

This kiss was different from the first one under the olive tree. That one had been unplanned, she was pretty sure. This kiss had intention and hunger branded all over it. It was like one of those kisses you read about in fairy tales—but Alana had never imagined that such a kiss could cause bone-trembling shivers as well as bliss. She’d never considered the downside of the awakening kiss, of how the princess felt when the hero tore through the thorns or scaled the tower and speared heat and sex and life-changing energy into the princess’s world.

You know where I’m going to be, and you’ll know where I’ve been every step of my way to get there. You’ve made a hobby out of taking things away from me… a lot of them I never even knew to miss, but I know now. I know what you just took, and there’s no way you’re taking anything else from me. It’s time for me to start taking from you,” Wednesday said with a confidence in her voice that even she noticed and was proud to hear. “I thought you said you weren’t running from me anymore,” Klein said with a laugh in his voice. Her face was red, and she felt like she was on fire. She managed, summoning all her will, to keep herself from screaming and instead, keep an even and icy voice. “I’m not, you piece of shit. Now, I’m running at you.

So what? What’s wrong with being ambitious? I do want a world full of beauty and grace. I do want power. And what’s more, I deserve it. It’s my birthright, and I’ll be damned if I don’t claim what’s mine!

Even her beauty had sharp edges. Her long ebony hair was cut like a razor blade. Her face was strong and fine.But her eyes. A milky green, they betrayed an air of vulnerability she seemed desperate to hide.

Sesily Talbot you court trouble. You disappoint me Mr Calhoun. I would have thought after what you witnessed tonight, I've no need to court trouble. ...And why is that? ...Haven't you noticed, American? I AM trouble.

I'm proud of my carefree behaviour [...] I am boisterous, when I choose to be, and simply because I don't behave like a wan and fainting female who has not a thought in her head except try to attract an eligible suitor [...] I shall not conform to how you or anyone else tells me I should behave. I am answerable only to God.

I moved another step forward. "Do you know how much of my blood is soaked into the stone floor of that castle? I'd own the fucking place if blood were coin! I put myself to sleep once by counting the drops as they hit.

I am not light nor the absence of it. I am the broad spectrum. Everything that makes you think, want to touch, or taste. Don't box me into that life that you so desperately need to be black and white because that's not me; I won't fit. I am bold, brilliant, and beautiful, I will sparkle and shimmer every hue. Ever changing. Undefinable. So do not give me limits or make me try to fit. There is no containing subtle softness careening into the harsh and dominant, every faucet creating a reaction which will cause you to feel and know you are alive." - Kendal Waller

All my life people have told me how strong I am, like it’s the best thing I’ve got to offer. I know they mean it in all the ways—physically, emotionally, mentally—and I am. But I’m also tired, worn out from hurting and being expected to come out on top of everything—even a car crash. I’m exhausted in all the ways I’m supposed to be strong...

Writing isn't about creating perfect characters. There's no such thing. It's about creating characters that are real; flawed-- yet beautiful, in that they know they need another person. Needing someone else doesn't make them weak; if they believed all they needed was them self, they would be. A strong heroine isn't afraid to admit that a best friend, or soul mate, is exactly what they need at one moment or another. A strong heroine never stands alone. They stand tall; they believe in who they are. They are perfect in every human flaw, because as humans we are flawed. And in every flaw, I see the perfection of their souls. Writers breath life into simple words and create beings--flaws and all.

In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that the wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine.

Ms. Lane.”Barrons’ voice is deep, touched with that strange Old World accent and mildly pissed off. Jericho Barrons is often mildly pissed off. I think he crawled from the swamp that way, chafed either by some condition in it, out of it, or maybe just the general mass incompetence he encountered in both places. He’s the most controlled, capable man I’ve ever known. After all we’ve been through together, he still calls me Ms. Lane, with one exception: When I’m in his bed. Or on the floor, or some other place where I’ve temporarily lost my mind and become convinced I can’t breathe without him inside me this very instant. Then the things he calls me are varied and nobody’s business but mine. I reply: “Barrons,” without inflection. I’ve learned a few things in our time together. Distance is frequently the only intimacy he’ll tolerate. Suits me. I’ve got my own demons. Besides I don’t believe good relationships come from living inside each other’s pockets. I believe divorce comes from that. I admire the animal grace with which he enters the room and moves toward me. He prefers dark colors, the better to slide in and out of the night, or a room, unnoticed except for whatever he’s left behind that you may or may not discover for some time, like, say a tattoo on the back of one’s skull. “What are you doing?” “Reading,” I say nonchalantly, rubbing the tattoo on the back of my skull. I angle the volume so he can’t see the cover. If he sees what I’m reading, he’ll know I’m looking for something. If he realizes how bad it’s gotten, and what I’m thinking about doing, he’ll try to stop me. He circles behind me, looks over my shoulder at the thick vellum of the ancient manuscript. “In the first tongue?” “Is that what it is?” I feign innocence. He knows precisely which cells in my body are innocent and which are thoroughly corrupted. He’s responsible for most of the corrupted ones. One corner of his mouth ticks up and I see the glint of beast behind his eyes, a feral crimson backlight, bloodstaining the whites. It turns me on. Barrons makes me feel violently, electrically sexual and alive. I’d march into hell beside him. But I will not let him march into hell beside me. And there’s no doubt that’s where I’m going. I thought I was strong, a heroine. I thought I was the victor. The enemy got inside my head and tried to seduce me with lies. It’s easy to walk away from lies. Power is another thing. Temptation isn’t a sin that you triumph over once, completely and then you’re free. Temptation slips into bed with you each night and helps you say your prayers. It wakes you in the morning with a friendly cup of coffee, and knows exactly how you take it. He skirts the Chesterfield sofa and stands over me. “Looking for something, Ms. Lane?” I’m eye level with his belt but that’s not where my gaze gets stuck and suddenly my mouth is so dry I can hardly swallow and I know I’m going to want to. I’m Pri-ya for this man. I hate it. I love it. I can’t escape it. I reach for his belt buckle. The manuscript slides from my lap, forgotten. Along with everything else but this moment, this man. “I just found it,” I tell him.

My love for these books, at its purest, is not really about Peeta or anything silly and girly. I love that a young woman character is fierce and strong but hum in ways I find believable, relatable. Katniss is clearly a heroine, but a heroine with issues. She intrigues me because she never seems to know her own strength. She isn't blandly insecure the way girls are often forced to be in fiction. She is brave but flawed. She is a heroine, but she is also a girl who loves two boys and can't choose which boy she loves more. She is not sure she is up to the task of leading a revolution, but she does her best, even as she doubts herself. Katniss endures the unendurable. She is damaged and it shows. At times, it might seem like her suffering is gratuitous, but life often presents unendurable circumstances people manage to survive. Only the details differ. The Hunger Games trilogy is dark and brutal, but in the end, the books also offer hope - for a better world and a better people and, for one woman, a better life, a life she can share with a man who understands her strength and doesn't expect her to compromise that strength, a man who can hold her weak places and love her through the darkest of her memories, the worst of her damage. Of course I love the Hunger Games. The trilogy offers the tempered hope that everyone who survives something unendurable hungers for.

No matter how desperately a mother loves you, she can only put up with so much. And so, the day came when Mother Nature lashed out against us. I understood where Nature was coming from. My family never listened to me either, which is why I didn't tell them about the guns I bought.

Actresses talking about characters they’ve played often use the phrase “strong woman”, which kind of irks me. Firstly, the description appears to be reserved for two kinds of female: the gun-toting chick in tiny-vest-and-shorts combo, or the tough-talking businesswoman who secretly longs for a man to bring out her softer side. So obviously, our idea of strength is pretty narrow and one-dimensional. Secondly, why isn’t Brad Pitt ever asked about how much he enjoys playing a “strong man”? Is it automatically assumed that men’s roles will be complex and interesting?

Anne’s is a world very like this one, and you can move about in it with familiarity - but not freedom: it is a place of rigorous consequence, where the weak have to give way to the strong, where her governess heroine Agnes must walk as best she can in the cold shade of money and masculinity.

Bread addiction is little different from that of alcohol or cocaine or heroin addiction, and sometimes it seems even more dangerous. Did you ever see a fat man praying for the soul of some poor alcoholic or drug addict? Yet he couldn’t stop his own helping of whole wheat toast for breakfast to save his soul.

Hush. Yellow is a happy color, and I'm trying to feel happy again.

Do not break your heart for those who left you,use the pain to earn success that defines you.

I couldn’t say anything. I could only think about how the world would be without light, and without goodness. This had to stop. And I was determined to be the person to stop it.

I am the wild, free-spirited lady Who is often scorned! I don't care about suntan, I don't bother whether my hair is well combed, Or there's a wrinkle on my dress!

To be a heroine is to be outgoing and strong willed

If we are to go by what the movies and novels tell us, falling in love just happens. If it is a Hindi movie, you hear a melodious track in the background, the lyrics usually waxing eloquent about the heroine’s beauty, comparing various parts of her anatomy to the moon, stars, the sun—even Fevicol. This is accompanied by the hero gazing at her with the expression of a glutton discovering a six-course banquet consisting of various gastronomical delights. In real life though, falling in love often happens over a period of time. You see someone gorgeous and get attracted strongly. If you strike up a conversation, find each other likable—or intriguing, as the case may be—then you exchange phone numbers or email ids. After a couple of dates, discovering many things and maybe a kiss or something more, depending on how much in resonance your moral compasses are, the magic happens, and wham, you are in love.

In the darkened trailer, Kelly was frightened, but she was reassured at the no-nonsense way Sarah talked about weapons. And Kelly was beginning to see that Sarah didn’t let anything stop her, she just went and did it. This whole attitude of not letting other people stop you, of believing that you could do what you wanted, was something she found herself imitating.

The problem with fairy tales is that most of them begin with tragedy. I understand the reasoning behind it. No one likes a pampered heroine. A great character needs trials to overcome—experiences to give them depth, to make them vulnerable, relatable, and likable. Good characters need hardships to make them strong. The idea makes sense, but it still sucks if you’re the heroine.

Jane Austen never married,” he said in frustration. “She entered the male-dominated field of novel writing and her female heroines are strong, independent characters. Just what do you imagine a feminist in a rural English village in the late eighteenth century looks like?

Celebrities are our heroes and heroines now, discussed the next day over latte or lunch. We have such a strong need to talk to each other, to have some commonality of story, that we're finding it in celebrities. In effect, we're turning reality into fiction. Using actors and actresses, just off duty. And how is this working for us? Not great. It leaves us with a perennially empty feeling. We find the celebrities empty, and at some level, we find ourselves empty for paying them so much attention. We've become reluctant voyeurs, and at some level, we know they're just people trying to live their lives. Our culture begins to lack content, depth, and substance. We miss the richness of human experience that story embodies, reflects, and carries forward. We might have to go back to reading books. Yay!

If I cheated on my spouse or partner, and they made the choice to stay with me regardless, I would leave that person. I will never be perceived as someone who needs a nice warm bath to come home to after rolling around outside in the grass; a coddled person, an infantile person, a person who's choices are perceived as the mistakes of a toddler, only needing to be slapped on the hand and then coddled. That would kill the relationship for me, that would kill everything. I'm not an inconsequential flower, I'm not a purified version washed down to be palatable; I am an equal. My mistakes should be treated as mistakes. I don't need forgiveness for anything that I do. I'm not an inconsequential flower, I'm not a purified version washed down to be palatable; I am an equal. My mistakes should be treated as mistakes. I don't need forgiveness for anything that I do.

I like to see the long line we each leave behind, and I sometimes imagine my whole life that way, as though each step was a stitch, as though I was a needle leaving a trail of thread that sewed together the world as I went by, crisscrossing others' paths, quilting it all together in some way that matters even though it can hardly be traced. A meandering line sutures together the world in some new way, as though walking was sewing and sewing was telling a story and that story was your life. A thread now most often means a line of conversation via e-mail or other electronic means, but thread must have been an even more compelling metaphor when most people witnessed or did the women's work that is spinning. It is a mesmerizing art, the spindle revolving below the strong thread that the fingers twist out of the mass of fiber held on an arm or a distaff. The gesture turns the cloudy mass of fiber into lines with which the world can be tied together. Likewise the spinning wheel turns, cyclical time revolving to draw out the linear time of a thread. The verb to spin first meant just this act of making, then evolved to mean anything turning rapidly, and then it came to mean telling a tale. Strands a few inches long twine together into a thread or yarn that can go forever, like words becoming stories. The fairy-tale heroines spin cobwebs, straw, nettles into whatever is necessary to survive. Scheherazade forestalls her death by telling a story that is like a thread that cannot be cut; she keeps spinning and spinning, incorporating new fragments, characters, incidents, into her unbroken, unbreakable narrative thread. Penelope at the other end of the treasury of stories prevents her wedding to any one of her suitors by unweaving at night what she weaves by day on her father-in-law's funeral garment. By spinning, weaving, and unraveling, these women master time itself, and though master is a masculine word, this mastery is feminine.

I feel very strongly that history has mostly been written by men, and even when it is not prejudiced against women it is dominated by a male perspective and male morality. Some of my heroines have been considered simply unimportant—like Mary Boleyn or Katherine Howard—and some of them have been stereotyped—like Anne of Cleves and Katherine of Aragon. I don’t start with a determination of putting the record straight, but when I read terribly prejudiced misjudgments of women I cannot help but consider what they would really have been like—and writing them back into the history.

(I may say too—but this, the young reader may skip without disadvantage—by way of explanation of a peculiarity which has lately been much remarked as characteristic of those records of human history contemptuously called fiction, i.e., the unimportance, or ill-report, or unjust disapproval of the mother in records of this description—that it is almost impossible to maintain her due rank and character in a piece of history, which has to be kept within certain limits—and where her daughter the heroine must have the first place. To lessen her pre-eminence by dwelling at length upon the mother, unless that mother is a fool, or a termagant, or something thoroughly contrasting with the beauty and virtues of the daughter—would in most cases be a mistake in art. For one thing the necessary incidents are wanting, for I strongly object, and so I think do most people, to mothers who fall in love, or think of marriage, or any such vanity in their own person, and unless she is to interfere mischievously with the young lady's prospects, or take more or less the part of the villain, how is she to be permitted any importance at all? For there cannot be two suns in one sphere, or two centres to one world. Thus the mother has to be sacrificed to the daughter: which is a parable; or else it is the other way, which is against all the principles and prepossessions of life.) Elinor

And surely part of what I love about childhood literary heroines is the way they remind me of that bygone stretch of real innocence - the ability to experience myself however I wanted to; the long heavenly summers spent reading books on the floor, trapped in a slice of burning Texas daylight; the time when I, already a complicated female character, wouldn't hear the phrase "complicated female character" for years. Those girls are all so brave, where adult heroines are all so bitter, and I so strongly dislike what has become clear since childhood: the facts of visibility and exclusion in these stories, and the way bravery and bitterness get so concentrated in literature, for women, because there's not enough space for them in the real world.

In striving to fulfill our identities as women, it's important not to confound the various passages of life with each other. What we may need in girlhood or adolescence are not the same qualities we need in maturity. The task of adolescence is to leave home. And women in a sexist society have chronically found this hard to do. Our biology has reinforced the very dependence which our minds have been able to fly beyond. Patriarchal practices like arranged marriages, female sexual mutilation and the denial of abortion have encouraged us to glorify not-leaving as a self-protective strategy. No wonder our creative heroines had to find strategies for leaving. Those who were heterosexual devised the strategy of falling for bad boys as a primal means of separation. We make a mistake in thinking they were only victims. They were adventurers first. That they became victims was not their intent. Sylvia Plath was not merely a masochist but a bold adventurer who perhaps got more than she bargained for. As I get older, I come to understand that the seemingly self-destructive obsessions of my various younger lives were not only self-destructive. They were also self-creative. All through the stages of our lives, we go through transformations that may only manifest themselves when they are safely over. The rebels and bad boys I loved were the harbingers of my loving those very qualities in myself. I loved and left the bad boys, but I thank them for helping to make me the strong survivor I am today.

No one who had ever seen Catherine Morland in her infancy would have supposed her born to be an heroine. Her situation in life, the character of her father and mother, her own person and disposition, were all equally against her. Her father was a clergyman, without being neglected, or poor, and a very respectable man, though his name was Richard — and he had never been handsome. He had a considerable independence besides two good livings — and he was not in the least addicted to locking up his daughters. Her mother was a woman of useful plain sense, with a good temper, and, what is more remarkable, with a good constitution. She had three sons before Catherine was born; and instead of dying in bringing the latter into the world, as anybody might expect, she still lived on — lived to have six children more — to see them growing up around her, and to enjoy excellent health herself. A family of ten children will be always called a fine family, where there are heads and arms and legs enough for the number; but the Morlands had little other right to the word, for they were in general very plain, and Catherine, for many years of her life, as plain as any. She had a thin awkward figure, a sallow skin without colour, dark lank hair, and strong features — so much for her person; and not less unpropitious for heroism seemed her mind. She was fond of all boy's plays, and greatly preferred cricket not merely to dolls, but to the more heroic enjoyments of infancy, nursing a dormouse, feeding a canary-bird, or watering a rose-bush. Indeed she had no taste for a garden; and if she gathered flowers at all, it was chiefly for the pleasure of mischief — at least so it was conjectured from her always preferring those which she was forbidden to take. Such were her propensities — her abilities were quite as extraordinary. She never could learn or understand anything before she was taught; and sometimes not even then, for she was often inattentive, and occasionally stupid. Her mother was three months in teaching her only to repeat the "Beggar's Petition"; and after all, her next sister, Sally, could say it better than she did. Not that Catherine was always stupid — by no means; she learnt the fable of "The Hare and Many Friends" as quickly as any girl in England. Her mother wished her to learn music; and Catherine was sure she should like it, for she was very fond of tinkling the keys of the old forlorn spinner; so, at eight years old she began. She learnt a year, and could not bear it; and Mrs. Morland, who did not insist on her daughters being accomplished in spite of incapacity or distaste, allowed her to leave off. The day which dismissed the music-master was one of the happiest of Catherine's life. Her taste for drawing was not superior; though whenever she could obtain the outside of a letter from her mother or seize upon any other odd piece of paper, she did what she could in that way, by drawing houses and trees, hens and chickens, all very much like one another. Writing and accounts she was taught by her father; French by her mother: her proficiency in either was not remarkable, and she shirked her lessons in both whenever she could. What a strange, unaccountable character! — for with all these symptoms of profligacy at ten years old, she had neither a bad heart nor a bad temper, was seldom stubborn, scarcely ever quarrelsome, and very kind to the little ones, with few interruptions of tyranny; she was moreover noisy and wild, hated confinement and cleanliness, and loved nothing so well in the world as rolling down the green slope at the back of the house.

She went to move around Jacques, strongly objecting to the this woman label. She did have a name. She was a person. She had a feeling they all thought her the hysterical type. She certainly hadn’t managed to show them her normal calm self. Jacques stepped backward and his arm swept behind him to pin her against the wall. He never took his eyes from the trio before them. He knew he was unstable, still fighting to hold on to reason when his every instinct was to attack. He trusted none of them and would not allow Shea to be put in any danger. Shea retaliated with a hard pinch. She was not going to cower behind her wild man like some seventeenth-century heroine fainting with the vapors. So she was surrounded by a few vampires. Big deal. Carpathians. Jacques sounded amused. If you laugh at me, Jacques, I might find another wooden stake and come after you myself, she warned him silently. “Well, for heaven’s sake.” Shea sounded exasperated as she addressed the group. “We’re all civilized, aren’t we?” She shoved at Jacques’ broad back. “Aren’t we?” “Absolutely.” Raven stepped forward, ignoring Mikhail’s restraining hand. “At least the women are. The men around here haven’t quite graduated from the swinging-through-trees stage yet.

Much has been made of the fact that Salander refuses to be a victim. To that extent, she reflects the consensus view of Swedish feminism: women are almost inevitably victimized, but must refuse to succumb; the feminist tenet is that women must organize to empower each other and to reject victimization. However, the point in Stieg Larsson's novels is that Lisbeth Salander refuses not only to be a victim, but also to seek fulfillment in a collective stand or seek redress through institutionalized means. When wronged, she will avenge herself. She has no interest in being nurturing, and rejects the notion that this is a role natural to women. She has no interest in analysing or "working on" her relationships and rejects the notion that this is how women are supposed to be. She distrusts the authorities, refuses to complain and instead acts on her own to gain and guard her rights. She rejects the consensus doctrine and trusts only in her own judgment and morality. She rejects the notion that women should dress and act to please men and instead dresses and acts to please herself. She rejects both the heterosexual norm and the idea of lesbian exclusivity, and seeks erotic fulfillment with those individuals she is attracted to, regardless of gender. She is, in short, the nightmare of all doctrines, all consensus thinkers, all moralists and all politicians; the individual complete unto herself, with neither need of nor respect for authority, traditions, public opinion, established morality or accepted behaviour. ... And in that sense, and as she is also resourceful, strong, intelligent and willing to act, she is a heroine.

Taking hold of the ladder, she began to climb, stopping when she got to eye level with him. That, however, turned out to be a mistake, because the moment her eyes met his, she forgot everything—even the lines she’d just committed to memory—because nothing else mattered to her except . . . him. “You wrote a scene with a strong heroine in it, and one where the hero gets dangled by his feet.” “I did.” “Why?” “Because I couldn’t figure out a better way to let you know I love you, the real you, without dangling from my feet and letting you cut me down.” Lucetta’s eyes immediately took to turning a little misty. “You . . . love me?” “I do, but before we continue this, I have to admit that hanging upside down is far less pleasant than I imagined, so if you’d be so kind, I really do need you to get me down from here.” Realizing he was completely serious, but also realizing if she cut him down he’d go plummeting to the hard floor and most likely suffer a horrible injury—which certainly wouldn’t have the night turning out well at all—Lucetta looked to the side of the stage and caught Mr. Skukman’s eye. As he, along with a good number of backstage hands, walked across the boards, whispers began circulating around the theater, growing louder after Bram got released and rose to his feet. Smiling ever so charmingly at the audience, he presented them with a small bow right before he took center stage. “Ladies and gentlemen, I must beg your indulgence for just a few more minutes because you see . . . I am . . . Mr. Grimstone.” The whispers ceased immediately. Bram smiled. “I’m Mr. Grimstone, alias Mr. Bram Haverstein, and I’ve come here tonight, with all of you as my witnesses, to proclaim my love for Miss Lucetta Plum, and . . .” He dropped to one knee. “Ask her to do me the very great honor of becoming my wife.” He reached out and took hold of Lucetta’s hand. “Miss Lucetta Plum, I am completely and irrevocably in love with you, and just so we’re clear, I’m in love with the real you, not the person you turn into when you take to the stage. I love the idea that you’re completely oblivious to your unusual beauty, can outrun a goat, and . . . you fascinate me as no one ever has. I’m asking you, in front of all of these people who will probably never buy another one of my books again if you turn me down . . .” He stopped talking and turned his head to the audience. “And just to remind everyone, I will have another novel releasing soon, although I haven’t decided on a title just yet, something about a strong-willed lady, no doubt, or . . .” “You’re getting distracted,” Lucetta interrupted. Bram immediately returned his gaze to hers. “Quite right, but . . . I’ve lost my train of thought.” “You were just about to the part where you were going to ask her to marry you,” a voice called out, a voice that sounded remarkably like Abigail’s. “Thank you, Grandmother,” he called back. “You’re welcome, darling. And just to remind you, I’m not getting any younger, so you might want to hurry this proposal business along.” Grinning, Bram shook his head, brought Lucetta’s fingers to his lips, and then sobered as he held her gaze. “I love you, Lucetta, more than I ever imagined I could, and I would be so incredibly honored if you’d agree to be my wife.” For a second, Lucetta was unable to answer him because her heart had taken to rising in her throat, but after drawing in a deep breath, she managed to nod, ignoring the tears that had filled her eyes and were blurring her vision. “I would be honored to become your wife, especially since—I’m not sure when this happened, but—I’m in love with you as well.” Bram’s hold on her hand tightened for just a second, and then he was sliding a ring on her finger she hadn’t even realized he’d been holding. Before she could take even a second to admire what felt like an enormous rock on her hand, he was standing instead of kneeling, looking intently into her eyes, before he pulled her into his arms and kissed her. The

What, then, is addiction? In the words of a consensus statement by addiction experts in 2001, addiction is a “chronic neurobiological disease… characterized by behaviors that include one or more of the following: impaired control over drug use, compulsive use, continued use despite harm, and craving.” The key features of substance addiction are the use of drugs or alcohol despite negative consequences, and relapse. I’ve heard some people shrug off their addictive tendencies by saying, for example, “I can’t be an alcoholic. I don’t drink that much…” or “I only drink at certain times.” The issue is not the quantity or even the frequency, but the impact. “An addict continues to use a drug when evidence strongly demonstrates the drug is doing significant harm…. If users show the pattern of preoccupation and compulsive use repeatedly over time with relapse, addiction can be identified.” Helpful as such definitions are, we have to take a broader view to understand addiction fully. There is a fundamental addiction process that can express itself in many ways, through many different habits. The use of substances like heroin, cocaine, nicotine and alcohol are only the most obvious examples, the most laden with the risk of physiological and medical consequences. Many behavioural, nonsubstance addictions can also be highly destructive to physical health, psychological balance, and personal and social relationships. Addiction is any repeated behaviour, substance-related or not, in which a person feels compelled to persist, regardless of its negative impact on his life and the lives of others. Addiction involves: 1. compulsive engagement with the behaviour, a preoccupation with it; 2. impaired control over the behaviour; 3. persistence or relapse, despite evidence of harm; and 4. dissatisfaction, irritability or intense craving when the object — be it a drug, activity or other goal — is not immediately available. Compulsion, impaired control, persistence, irritability, relapse and craving — these are the hallmarks of addiction — any addiction. Not all harmful compulsions are addictions, though: an obsessive-compulsive, for example, also has impaired control and persists in a ritualized and psychologically debilitating behaviour such as, say, repeated hand washing. The difference is that he has no craving for it and, unlike the addict, he gets no kick out of his compulsion. How does the addict know she has impaired control? Because she doesn’t stop the behaviour in spite of its ill effects. She makes promises to herself or others to quit, but despite pain, peril and promises, she keeps relapsing. There are exceptions, of course. Some addicts never recognize the harm their behaviours cause and never form resolutions to end them. They stay in denial and rationalization. Others openly accept the risk, resolving to live and die “my way.

All the substances that are the main drugs of abuse today originate in natural plant products and have been known to human beings for thousands of years. Opium, the basis of heroin, is an extract of the Asian poppy Papaver somniferum. Four thousand years ago, the Sumerians and Egyptians were already familiar with its usefulness in treating pain and diarrhea and also with its powers to affect a person’s psychological state. Cocaine is an extract of the leaves of Erythroxyolon coca, a small tree that thrives on the eastern slopes of the Andes in western South America. Amazon Indians chewed coca long before the Conquest, as an antidote to fatigue and to reduce the need to eat on long, arduous mountain journeys. Coca was also venerated in spiritual practices: Native people called it the Divine Plant of the Incas. In what was probably the first ideological “War on Drugs” in the New World, the Spanish invaders denounced coca’s effects as a “delusion from the devil.” The hemp plant, from which marijuana is derived, first grew on the Indian subcontinent and was christened Cannabis sativa by the Swedish scientist Carl Linnaeus in 1753. It was also known to ancient Persians, Arabs and Chinese, and its earliest recorded pharmaceutical use appears in a Chinese compendium of medicine written nearly three thousand years ago. Stimulants derived from plants were also used by the ancient Chinese, for example in the treatment of nasal and bronchial congestion. Alcohol, produced by fermentation that depends on microscopic fungi, is such an indelible part of human history and joy making that in many traditions it is honoured as a gift from the gods. Contrary to its present reputation, it has also been viewed as a giver of wisdom. The Greek historian Herodotus tells of a tribe in the Near East whose council of elders would never sustain a decision they made when sober unless they also confirmed it under the influence of strong wine. Or, if they came up with something while intoxicated, they would also have to agree with themselves after sobering up. None of these substances could affect us unless they worked on natural processes in the human brain and made use of the brain’s innate chemical apparatus. Drugs influence and alter how we act and feel because they resemble the brain’s own natural chemicals. This likeness allows them to occupy receptor sites on our cells and interact with the brain’s intrinsic messenger systems. But why is the human brain so receptive to drugs of abuse? Nature couldn’t have taken millions of years to develop the incredibly intricate system of brain circuits, neurotransmitters and receptors that become involved in addiction just so people could get “high” to escape their troubles or have a wild time on a Saturday night. These circuits and systems, writes a leading neuroscientist and addiction researcher, Professor Jaak Panksepp, must “serve some critical purpose other than promoting the vigorous intake of highly purified chemical compounds recently developed by humans.” Addiction may not be a natural state, but the brain regions it subverts are part of our central machinery of survival.