Kath
6th June 2008, 08:28 AM
Sascha Roznine knew he was falling for Tirla when she was twelve. Afra Lyon had an unrequited thing for the Rowan which transferred to Damia almost from the start. Other Talents were often at risk from the attentions of mysterious mature strangers - Sodan, for instance, or Prince Phannibal.
So, whose attraction was the least appropriate?
How does this relate to Anne's apparent attitudes towards female sexuality in her fiction - that a 'good' woman should be safely married off (or the closest equivalent when it comes to pern or the Ship books) if she's to indulge in carnal relations without becoming an Evil Antagonist?
Does Damia's succession of sexual angst issues and relatively early partnering to Afra reflect Anne's more realistic portrayal of teen sexuality in later novels, which still had to be countered by a youthful safe marriage?
How much leeway should there be in the Talent books given the nature of mind-to-mind contact involving the characters? Contrast this with other books involving psi-powers, e.g. Julian May's Galactic Milieu trilogy (which has a wonderfully believable range of sexual relationships and characters) or Bradley's Darkover novels (where no-one can screw anyone without the prospect of future angst). What about other books I haven't mentioned?
Please share your thoughts!
[Inspired by a recent re-read of Pegasus in Flight, during which I revisited my frustration at Anne's incredibly limited range of options for female relationships.]
So, whose attraction was the least appropriate?
How does this relate to Anne's apparent attitudes towards female sexuality in her fiction - that a 'good' woman should be safely married off (or the closest equivalent when it comes to pern or the Ship books) if she's to indulge in carnal relations without becoming an Evil Antagonist?
Does Damia's succession of sexual angst issues and relatively early partnering to Afra reflect Anne's more realistic portrayal of teen sexuality in later novels, which still had to be countered by a youthful safe marriage?
How much leeway should there be in the Talent books given the nature of mind-to-mind contact involving the characters? Contrast this with other books involving psi-powers, e.g. Julian May's Galactic Milieu trilogy (which has a wonderfully believable range of sexual relationships and characters) or Bradley's Darkover novels (where no-one can screw anyone without the prospect of future angst). What about other books I haven't mentioned?
Please share your thoughts!
[Inspired by a recent re-read of Pegasus in Flight, during which I revisited my frustration at Anne's incredibly limited range of options for female relationships.]