There’s Always (More Th)a(n One) Woman

I’m perpetually behind in my reading, so it’s only just now that I got around to listening to Aimee Ogden‘s “The Forty Gardens of Calliope Grey,” which went up on Cast of Wonders several months ago. Spoilers for anyone who’s similarly behind, but there’s no way to talk about the positive buttons this pushed for me without them. You’ve been warned.

The story premise is intimate and simple: small gardens have a tendency to find Calliope, sprouting suddenly in teapots and baking dishes, thriving in all manner of tiny spaces throughout her cozy apartment. Then one day, a garden goes missing. But even after Calliope retrieves it, the garden seems to want to leave her for the teenage girl downstairs. Cue angst.

As with most things, the wonderful bits happen here in the execution. Not least of all in the way Ogden deconstructs the notion of the Kick Ass Woman.

No, nobody enters into fisticuffs. I’m talking, instead, about the idea that there is only ever one Kick Ass Woman, where kick ass is a stand in for “really good at something.” We see it all the time: an ensemble of male characters of varying abilities and specialties, and the The Woman, who is better at her one thing than any other man (for which: hooray), but who also seems to be the only woman around who is competent at anything, much less her kick ass thing.

And should another woman show up, she will either be completely artless so as to show us our woman’s kick ass-ness, or she will be kick ass on exactly the same vector as our woman. In which case, what must inevitably ensue is a showdown to prove who’s really the kick ass one and who’s the pretender who will give it all up.

Because, of course, there can be only one. It’s yet another riff on the stale maiden-mother-crone paradigm no one who’s made it through high school English can avoid learning, and for which there is no real male parallel. This isn’t just a fictional trope, though. It’s a trope built on a persistent societal thread, that women are replaced by “the younger model.” That unlike men, women aren’t competing against their entire field, only against their fellow women for those limited spaces available to them.

And for a moment, as Calliope worries that the loss of one of her gardens will inevitably lead to the loss of more, to the loss of all, that if she shares the thing that makes her feel the most wonderful with another woman, she will lose it to her, I’ll sheepishly confess I worried the same thing. Like Calliope, I wasn’t sure where this was all headed. Like Calliope, I fell right back on that tired societal trope that told me if a new, younger woman was showing up with a similar skill, things could only end if one of them soundly trounced the other.

Ogden has other ideas. And she’s had those ideas from the beginning. The story’s resolution isn’t a twist so much as an object lesson in paying attention, in the reminder that worldbuilding isn’t just atmosphere, it’s integral to story. We know that gardens have been finding Calliope for years, that the number of gardens has been growing. There is literally nothing to suggest that one garden departing changes this fact. But because we’re ensnared in a binary, in societal notions that one woman can’t succeed unless another woman fails, we ignore logic and reason and facts.

The author doesn’t, though, and the result is an incredibly kind surprise as the story takes its final turns, and a reminder that, like surprise gardens, life isn’t nearly so restricted as we’re wont to believe.

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