Philippa Gregory's Favorite Fictional Heroines

Philippa Gregory is best known for reimagining the lives of famous royal women in bestselling novels, including The Other Boleyn Girl, The White Queen, and The Constant Princess, which have all been adapted for TV and film. In her new book, Tidelands, she returns to historical fiction based in a real time and place—1648 during the English Civil War—but with imaginary people.
"It was very liberating to get away from the royal family and royal palaces and into the daily life of aspiring people hoping to rise from poverty into the New England of political freedoms and opportunities," she says of the new book.
Here Gregory shares her favorite fictional women, all of whom exist within the pages of beloved classics.
"It was very liberating to get away from the royal family and royal palaces and into the daily life of aspiring people hoping to rise from poverty into the New England of political freedoms and opportunities," she says of the new book.
Here Gregory shares her favorite fictional women, all of whom exist within the pages of beloved classics.
For all my adult life, I have been thinking about the lives of women in history: how they are portrayed and how few books take seriously the particular difficulties women face in expressing themselves, in growing and learning, and in being successful in what was—at the time history was first written—wholly a man’s world.
When I write about a woman in history—whether real or, as in my new novel, a fictional character—they are always women who are up against tremendous odds and some of them are overwhelmed.
My latest heroine, Alinor, is trying to lead a steady life in shifting circumstances. She is married but has no support from her husband. She lives in a place where land turns into sea, at a time when women were increasingly demonized. She is a midwife at a time when female healers were being pushed out of an increasingly male profession. She works with herbs, an expertise that was simultaneously dying out and coming under fire for its possible connection to witchcraft.
In everything she does, she has to walk a very narrow line. I think a lot of women recognize that feeling, even today.
Without real intention, I came to describe a marginal life on the coast—at the end of solid land. I think this is an intuitive truth: Any novel about a historical woman is going to be about a woman on the edge of events, perilously close to defeat but—wow—what defeats!
These, my favorite heroines, are women who fight to the end and who realize, and show us, that their cause is worth the struggle. They often betray themselves by loving too much or loving the wrong man, and this is part of the imaginary conflict between head and heart that women struggle with. I don’t think it is our struggle. I think women find themselves engaged in this struggle between thinking and feeling because the world—the man’s world—has decided to value logic over intuition, intention over desire, thoughts over feelings.
In this world, it is a struggle in itself to be emotionally intelligent—as Germaine Greer said, to be intelligently passionate and passionately intelligent.
When I write about a woman in history—whether real or, as in my new novel, a fictional character—they are always women who are up against tremendous odds and some of them are overwhelmed.
My latest heroine, Alinor, is trying to lead a steady life in shifting circumstances. She is married but has no support from her husband. She lives in a place where land turns into sea, at a time when women were increasingly demonized. She is a midwife at a time when female healers were being pushed out of an increasingly male profession. She works with herbs, an expertise that was simultaneously dying out and coming under fire for its possible connection to witchcraft.
In everything she does, she has to walk a very narrow line. I think a lot of women recognize that feeling, even today.
Without real intention, I came to describe a marginal life on the coast—at the end of solid land. I think this is an intuitive truth: Any novel about a historical woman is going to be about a woman on the edge of events, perilously close to defeat but—wow—what defeats!
These, my favorite heroines, are women who fight to the end and who realize, and show us, that their cause is worth the struggle. They often betray themselves by loving too much or loving the wrong man, and this is part of the imaginary conflict between head and heart that women struggle with. I don’t think it is our struggle. I think women find themselves engaged in this struggle between thinking and feeling because the world—the man’s world—has decided to value logic over intuition, intention over desire, thoughts over feelings.
In this world, it is a struggle in itself to be emotionally intelligent—as Germaine Greer said, to be intelligently passionate and passionately intelligent.
"There is a real choice of great women characters from one of the greatest women writers. First is the magnificent Dorothea, a scholarly girl who mistakes love of study for love of the scholar and marries the wrong man. But even the right man is not her equal. She’s a wonderfully nuanced picture of how difficult it is to be a highly intelligent woman with a great capacity for love. Eliot’s other women characters are similarly complex. The wonderfully dreadful Rosamond Vincy, who catches and ruins her man, and the endearing Harriet, who seems like a foolish, indulgent woman but rises to face hardship with real courage."
"Jane Austen can’t write a stereotype heroine, but my favorite is probably Anne in Persuasion, who is an older woman with a disappointment behind her and a trying family but still manages to break free of convention and follow her desire. At the end you are practically shouting at her."
"Hardy was very interested in the fictional possibilities and the real-life challenges of the 'new woman.' Bathsheba is a woman who owns her own land and tries to compete as a working farmer in a man’s world. She, too, falls in love with the wrong man, and the right man is hardly a match for her. She’s rather inspiringly willful and selfish, but she is a heroine underneath and Hardy shows us this."
"Another heroine you love, despite her making the wrong decisions. Flaubert is brilliant on the socialization of young women—how an ill-educated woman raised to be mercenary cannot help but make the wrong choices."
"One of my favorite heroines of all time. One of the great Russian novels—but don’t let that put you off. It tells of beautiful, sophisticated, and loving Anna who faces ruin because she wants more from life. Reading it is a hugely emotional experience."
"Updike is always bittersweet and sometimes more bitter than sweet, but in this, his most famous book, he gets into the lives of prosperous entwined couples and the heartbreak they cause each other. He’s more sensitive to women’s ambitions and fears in this than in some of his other great novels."
"If you haven’t read this, do try it. It’s got a slow start and it develops slowly, but James is always subtle and deeply understanding of women. This is perhaps his finest portrait of a lady."
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Michelle
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Aug 09, 2019 04:02AM

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2. I'm flabbergasted that she hasn't chosen any book more recent than 1968 and that's the only one published in the last hundred years

Philippa Gregory is a woman
Are you sure you've got the right author?




I agree! My favorites are the Constant Princess and the other Boleyn girl


I agree. Their lives are fascinating but intriguing and scary.