Holding out for a Hero: Why I used Greek Mythology to write about modern gender violence, a guest post by Kyrie McCauley
In We Can Be Heroes, three friends navigate a devastating loss due to gun violence and their own anger in its wake. They decide to turn this anger into art and activism, painting illegal murals to raise awareness for what happened—and also to demand accountability.
Beck, Vivian, and Cassie create murals based on Greek mythology, and include portraits of Cassandra, Circe, Helen, Ariadne, Andromeda, and Medusa. They’re finding a way to tell Cassie’s story to the world by channeling these myths we already know so well.
The thing about the women in these myths is that they aren’t usually the center of the story. They’re a side quest, or the hero’s motivation, or they’re even written as the villain. Essentially, they’re a lesson to be learned, which is unfortunately how we still frame a lot of violence against women today.
Today we tell stories of true crime in a similar way. We have podcasts and shows and thrillers, flashing news stories that highlight the incident without any context about gender violence. The act is sensationalized, a cautionary tale at best, and sometimes even presented as entertainment. And what about the victims themselves? Often, the person gets lost in the narrative. But the stories we tell about violence matter. Especially when 1 in 4 women experience domestic violence in their lifetime. Especially when the presence of a gun in a situation of domestic violence increases the risk of homicide by 500%.
In We Can Be Heroes, I bring Cassie back after her death as a ghost haunting her friends and seeking justice for what happened to her. Cassie sees her community briefly mourn her and then move on, without ever confronting the events that led to her death. Her community is better at mourning a loss than preventing one, and doesn’t seem to care to change.
Cassie was the victim of murder, but also of people turning away from the signs of an unhealthy relationship with escalating danger. The red flags were ignored or rationalized. There are patterns of violence against women in Greek mythology, too, and I wanted to highlight those similarities while telling Cassie’s modern story. The first mural the girls paint is of the prophetess Cassandra, who saw the future but was ignored, just like those red flags in Cassie’s relationship were missed.
I’ve listened to hundreds of stories from survivors of violence, as an advocate, a counselor, a friend. And the thing that always struck me was the echo in the room. There was the trauma itself, infuriating on its own, and then there was the follow up: not being believed. There is a lot of frustration with systems that fail victims of violence again and again.
At one point, Cassie wishes: “If only this world loved living girls as much as it loves dead ones.” I think we are good at rallying around a tragedy, but we have a lot of work to do in preventing one. And it starts with listening to and believing victims of violence. We Can Be Heroes is about reclaiming our stories. Was Medusa really the monster? Why was Andromeda sacrificed to Cetus, the sea creature? How do we talk and write about the tragic heroine?
Who gets to be called a hero? In this book, it is the teen girls. By bringing Cassie back as a ghost and giving her a point of view, I got to let her tell her own story—not just as a passive, haunting specter, and not just as another statistic, but as a furious young woman grieving the life that was stolen from her. She wants justice, but she’ll settle for vengeance. It felt good to give Cassie and her friends the rage they have so earned. And it felt good to make them fully the center of their story. The victim and the hero are the same, and if anyone is going to avenge Cassie, she will do it herself, with the help of her righteously angry friends.
By using figures from Greek mythology, and reframing the stories we tell about violence, I got to make Cassie’s message clear: We are the heroes of our own stories, and no one is allowed to rewrite us.
Meet the author
Kyrie McCauley spent her childhood climbing trees in dresses and reading books during class. She is the author of If These Wings Could Fly, recipient of the 2021 William C. Morris Award. Kyrie holds a Master of Science in Social Policy from the University of Pennsylvania, and has worked in advocacy and development for non-profit organizations. She lives near Philadelphia, Pennsylvania with her family, three rescue cats, and a dog that eats books and is never sorry.
Author Website: kyriemccauley.com
Resources on Violence: https://www.kyriemccauley.com/resources
Author Twitter: @kyriemccauley
Author Instagram: @kyriemccauley
About We Can Be Heroes
Kyrie McCauley, author of the William C. Morris YA Debut Award winner If These Wings Could Fly, delivers a powerful contemporary YA novel about the lasting bonds of friendship and three girls fighting for each other in the aftermath of a school shooting. Perfect for fans of Laura Ruby and Mindy McGinnis.
Beck and Vivian never could stand each other, but they always tried their best for their mutual friend, Cassie. After the town moves on from Cassie’s murder too fast, Beck and Vivian finally find common ground: vengeance.
They memorialize Cassie by secretly painting murals of her around town, a message to the world that Cassie won’t be forgotten. But Beck and Vivian are keeping secrets, like the third passenger riding in Beck’s VW bus with them—Cassie’s ghost.
When their murals catch the attention of a podcaster covering Cassie’s case, they become the catalyst for a debate that Bell Firearms can no longer ignore. With law enforcement closing in on them, Beck and Vivian hurry to give Cassie the closure she needs—by delivering justice to those responsible for her death.
Publisher: HarperCollins Publishers
Publication date: 09/07/2021
Age Range: 13 – 17 Years
Filed under: Uncategorized
About Amanda MacGregor
Amanda MacGregor works in an elementary library, loves dogs, and can be found on Twitter @CiteSomething.
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