DANGEROUS WOMEN
EDITED BY
GEORGE R. R. MARTIN
AND
GARDNER DOZOIS
To Jo Playford, my dangerous minion.
[—George R. R. Martin]
Contents
Cover
Title Page
Dedication
Introduction
Some Desperado by Joe Abercrombie
My Heart Is Either Broken by Megan Abbott
Nora’s Song by Cecelia Holland
The Hands That Are Not There by Melinda Snodgrass
Bombshells by Jim Butcher
Raisa Stepanova by Carrie Vaughn
Wrestling Jesus by Joe R. Lansdale
Neighbors by Megan Lindholm
I Know How to Pick ’Em by Lawrence Block
Shadows For Silence in the Forests of Hell by Brandon Sanderson
A Queen in Exile by Sharon Kay Penman
The Girl in the Mirror by Lev Grossman
Second Arabesque, Very Slowly by Nancy Kress
City Lazarus by Diana Rowland
Virgins by Diana Gabaldon
Hell Hath No Fury by Sherrilyn Kenyon
Pronouncing Doom by S. M. Stirling
Name the Beast by Sam Sykes
Caretakers by Pat Cadigan
Lies My Mother Told Me by Caroline Spector
The Princess and the Queen by George R. R. Martin
Footnote
Copyright Acknowledgments
Copyright
About the Publisher
Introduction by Gardner Dozois
Genre fiction has always been divided over the question of just how dangerous women are.
In the real world, of course, the question has long been settled. Even if the Amazons are mythological (and almost certainly wouldn’t have cut their right breasts off to make it easier to draw a bow if they weren’t), their legend was inspired by memory of the ferocious warrior women of the Scythians, who were very much not mythological. Gladiatrix, women gladiators, fought other women—and sometimes men—to the death in the arenas of Ancient Rome. There were female pirates like Anne Bonny and Mary Read, and even female samurai. Women served as frontline combat troops, feared for their ferocity, in the Russian army during World War II, and serve so in Israel today. Until 2013, women in the U.S. forces were technically restricted to “noncombat” roles, but many brave women gave their lives in Iraq and Afghanistan anyway, since bullets and land mines have never cared whether you’re a noncombatant or not. Women who served as Women Airforce Service Pilots for the United States during World War II were also limited to noncombat roles (where many of them were nevertheless killed in the performance of their duties), but Russian women took to the skies as fighter pilots, and sometimes became aces. A Russian female sniper during World War II was credited with more than fifty kills. Queen Boudicca of the Iceni tribe led one of the most fearsome revolts ever against Roman authority, one that was almost successful in driving the Roman invaders from Britain, and a young French peasant girl inspired and led the troops against the enemy so successfully that she became famous forever afterwards as Joan of Arc.
On the dark side, there have been female “highwaymen” like Mary Frith and Lady Katherine Ferrers and Pearl Hart (the last person to ever rob a stagecoach); notorious poisoners like Agrippina and Catherine de Medici, modern female outlaws like Ma Barker and Bonnie Parker, even female serial killers like Aileen Wuornos. Elizabeth Báthory was said to have bathed in the blood of virgins, and even though that has been called into question, there is no doubt that she tortured and killed dozens, perhaps hundreds, of children during her life. Queen Mary I of England had hundreds of Protestants burnt at the stake; Queen Elizabeth of England later responded by executing large numbers of Catholics. Mad Queen Ranavalona of Madagascar had so many people put to death that she wiped out one-third of the entire population of Madagascar during her reign; she would even have you executed if you appeared in her dreams.
Popular fiction, though, has always had a schizophrenic view of the dangerousness of women. In the science fiction of the 1930s, ’40s, and ’50s, women, if they appeared at all, were largely regulated to the role of the scientist’s beautiful daughter, who might scream during the fight scenes but otherwise had little to do except hang adoringly on the arm of the hero afterwards. Legions of women swooned helplessly while waiting to be rescued by the intrepid jut-jawed hero from everything from dragons to the bug-eyed monsters who were always carrying them off for improbable purposes either dietary or romantic on the covers of pulp SF magazines. Hopelessly struggling women were tied to railroad tracks, with nothing to do but squeak in protest and hope that the Good Guy arrived in time to save them.
And yet, at the same time, warrior women like Edgar Rice Burroughs’s Dejah Thoris and Thuvia, Maid of Mars, were every bit as good with the blade and every bit as deadly in battle as John Carter and their other male comrades, female adventuresses like C. L. Moore’s Jirel of Joiry swashbuckled their way through the pages of Weird Tales magazine (and blazed a trail for later female swashbucklers like Joanna Russ’s Alyx); James H. Schmitz sent Agents of Vega like Granny Wannatel and fearless teenagers like Telzey Amberdon and Trigger Argee out to battle the sinister menaces and monsters of the spaceways; and Robert A. Heinlein’s dangerous women were capable of being the captain of a spaceship or killing enemies in hand-to-hand combat. Arthur Conan Doyle’s sly, shady Irene Adler was one of the only people ever to outwit his Sherlock Holmes, and probably one of the inspirations for the legions of tricky, dangerous, seductive, and treacherous “femmes fatale” who featured in the works of Dashiell Hammett and James M. Cain and later went on to appear in dozens of films noir, and who still turn up in the movies and on television to this day. Later television heroines such as Buffy the Vampire Slayer and Xena, Warrior Princess, firmly established women as being formidable and deadly enough to battle hordes of fearsome supernatural menaces, and helped to inspire the whole subgenre of paranormal romance, which is sometimes unofficially known as the “kick-ass heroine” genre.
Like our anthology Warriors, Dangerous Women was conceived of as a cross-genre anthology, one that would mingle every kind of fiction, so we asked writers from every genre—science fiction, fantasy, mystery, historical, horror, paranormal romance, men and women alike—to tackle the theme of “dangerous women,” and that call was answered by some of the best writers in the business, including both new writers and giants of their fields like Diana Gabaldon, Jim Butcher, Sharon Kay Penman, Joe Abercrombie, Carrie Vaughn, Joe R. Lansdale, Lawrence Block, Cecelia Holland, Brandon Sanderson, Sherilynn Kenyon, S. M. Stirling, Nancy Kress, and George R. R. Martin.
Here you’ll find no hapless victims who stand by whimpering in dread while the male hero fights the monster or clashes swords with the villain, and if you want to tie these women to the railroad tracks, you’ll find you have a real fight on your hands. Instead, you will find sword-wielding women warriors; intrepid women fighter pilots and far-ranging spacewomen; deadly female serial killers; formidable female superheroes; sly and seductive femmes fatale; female wizards; hard-living bad girls; female bandits and rebels; embattled survivors in postapocalyptic futures; female private investigators; stern female hanging judges; haughty queens who rule nations and whose jealousies and ambitions send thousands to grisly deaths; daring dragonriders; and many more.
Enjoy!
Joe Abercrombie
As the sizzlingly fast-paced and action-packed story that follows demonstrates, sometimes chasing a fugitive can be as dangerous for the pursuers as for the pursued—particularly when the quarry has no place left to run …
Joe Abercrombie is one of the fastest-rising stars in fantasy today, acclaimed by readers and critic
s alike for his tough, spare, no-nonsense approach to the genre. He’s probably best known for his First Law trilogy, the first novel of which, The Blade Itself, was published in 2006; it was followed in subsequent years by Before They Are Hanged and Last Argument of Kings. He’s also written the stand-alone fantasy novels Best Served Cold and The Heroes. His most recent novel is Red Country. In addition to writing, Abercrombie is also a freelance film editor and lives and works in London.
SOME DESPERADO
Shy gave the horse her heels, its forelegs buckled, and, before she had a notion what was happening, she and her saddle had bid each other a sad farewell.
She was given a flailing instant aloft to consider the situation. Not a good one at a brief assay, and the impending earth gave her no time for a longer. She did her best to roll with the fall—as she tried to do with most of her many misfortunes—but the ground soon uncurled her, gave her a fair roughing up, and tossed her, flopping, into a patch of sun-shrivelled scrub.
Dust settled.
She stole a moment just to get some breath in. Then one to groan while the world stopped rolling. Then another to shift gingerly an arm and a leg, waiting for that sick jolt of pain that meant something was broke and her miserable shadow of a life would soon be lost in the dusk. She would’ve welcomed it, if it meant she could stretch out and not have to run any more. But the pain didn’t come. Not outside of the usual compass, leastways. As far as her miserable shadow of a life went, she was still awaiting judgment.
Shy dragged herself up, scratched and scuffed, caked in dust and spitting out grit. She’d taken too many mouthfuls of sand the last few months but she’d a dismal premonition that there’d be more. Her horse lay a few strides distant, one foamed-up flank heaving, forelegs black with blood. Neary’s arrow had snagged it in the shoulder, not deep enough to kill or even slow it right off, but deep enough to make it bleed at a good pace. With her hard riding, that had killed it just as dead as a shaft in the heart.
There’d been a time Shy had got attached to horses. A time—despite reckoning herself hard with people and being mostly right—she’d been uncommon soft about animals. But that time was a long time gone. There wasn’t much soft on Shy these days, body or mind. So she left her mount to its final red-frothed breaths without the solace of her calming hand and ran for the town, tottering some at first, but quickly warming to the exercise. At running, she’d a heap of practice.
“Town” was perhaps an overstatement. It was six buildings, and calling them buildings was being generous to two or three. All rough lumber and an entire stranger to straight angles, sun-baked, rain-peeled, and dust-blasted, huddled about a dirt square and a crumbling well.
The biggest building had the look of a tavern or brothel or trading post or more likely all three amalgamated. A rickety sign still clung to the boards above the doorway but the name had been rubbed by the wind to just a few pale streaks in the grain. Nothing, nowhere, was all its proclamation now. Up the steps two by two, bare feet making the old boards wheeze, thoughts boiling away at how she’d play it when she got inside, what truths she’d season with what lies for the most likely recipe.
There’s men chasing me! Gulping breath in the doorway and doing her best to look beyond desperate—no mighty effort of acting at that moment, or any occupying the last twelve months, indeed.
Three of the bastards! Then—provided no one recognised her from all the bills for her arrest—They tried to rob me! A fact. No need to add that she’d robbed the money herself from the new bank in Hommenaw in the company of those three worthies plus another since caught and hung by the authorities.
They killed my brother! They’re drunk on blood! Her brother was safe at home where she wished she was, and if her pursuers were drunk, it would likely be on cheap spirits as usual, but she’d shriek it with that little warble in her throat. Shy could do quite a warble when she needed one, she’d practiced it ’til it was something to hear. She pictured the patrons springing to their feet in their eagerness to aid a woman in distress. They shot my horse! She had to admit it didn’t seem overpowering likely that anyone hard-bitten enough to live out here would be getting into a sweat of chivalry, but maybe fate would deal her a winning hand for once.
It had been known to happen.
She blundered through the tavern’s door, opening her mouth to serve up the tale, and stopped cold.
The place was empty.
Not just no one there, but nothing there, and for damn sure no winning hand. Not a twig of furniture in the bare common room. A narrow stairway and a balcony running across the left-hand wall, doorways yawning empty upstairs. Chinks of light scattered where the rising sun was seeking out the many gaps in the splitting carpentry. Maybe just a lizard skittering away into the shadows—of which there was no shortage—and a bumper harvest of dust, greying every surface, drifted into every corner. Shy stood there a moment just blinking, then dashed back out along the rickety stoop and to the next building. When she shoved the door, it dropped right off its rusted hinges.
This one hadn’t even a roof. Hadn’t even a floor. Just bare rafters with the careless, pinking sky above, and bare joists with a stretch of dirt below, every bit as desolate as the miles of dirt outside.
She saw it now as she stepped back into the street with vision unhindered by hope. No glass in the windows, or wax paper, even. No rope by the crumbling well. No animals to be seen—aside from her own dead horse, that was, which only served to prove the point.
It was a dried-out corpse of a town, long since dead.
Shy stood in that forsaken place, up on the balls of her bare feet as though she was about to sprint off somewhere but lacked the destination, hugging herself with one arm while the fingers of the other hand fluttered and twitched at nothing, biting on her lip and sucking air fast and rasping through the little gap between her front teeth.
Even by recent standards, it was a low moment. But if she’d learned anything the last few months, it was that things can always get lower. Looking back the way she’d come, Shy saw the dust rising. Three little grey trails in the shimmer off the grey land.
“Oh, hell,” she whispered, and bit her lip harder. She pulled her eating knife from her belt and wiped the little splinter of metal on her dirty shirt, as though cleaning it might somehow settle the odds. Shy had been told she had a fertile imagination, but even so, it was hard to picture a more feeble weapon. She’d have laughed if she hadn’t been on the verge of weeping. She’d spent way too much time on the verge of weeping the last few months, now that she thought about it.
How had it come to this?
A question for some jilted girl rather than an outlaw with four thousand marks offered, but still a question she was never done asking. Some desperado! She’d grown expert on the desperate part but the rest remained a mystery. The sorry truth was that she knew full well how it came to this—the same way as always. One disaster following so hard on another that she just bounced between ’em, pinging about like a moth in a lantern. The second usual question followed hard on the first.
What the fuck now?
She sucked in her stomach—not that there was much to suck in these days—and dragged the bag out by the drawstrings, coins inside clicking together with that special sound only money makes. Two thousand marks in silver, give or take. You’d think that a bank would hold a lot more—they told depositors they always had fifty thousand on hand—but it turns out you can’t trust banks any more than bandits.
She dug her hand in, dragged free a fistful of coins, and tossed the money across the street, leaving it gleaming in the dust. She did it like she did most things these days—hardly knowing why. Maybe she valued her life a lot higher’n two thousand marks, even if no one else did. Maybe she hoped they’d just take the silver and leave her be, though what she’d do once she was left be in this corpse town—no horse, no food, no weapon—she hadn’t thought out. Clearly she hadn’t fixed up a whole plan, or not one that would hold too much water, leastwa
ys. Leaky planning had always been a problem of hers.
She sprinkled silver as if she was tossing seed on her mother’s farm, miles and years and a dozen violent deaths away. Whoever would’ve thought she’d miss the place? Miss the bone-poor house and the broke-down barn and the fences that always needed mending. The stubborn cow that never gave milk and the stubborn well that never gave water and the stubborn soil that only weeds would thrive in. Her stubborn little sister and brother too. Even big, scarred, softheaded Lamb. What Shy would’ve given now to hear her mother’s shrill voice curse her out again. She sniffed hard, her nose hurting, her eyes stinging, and wiped ’em on the back of her frayed cuff. No time for tearful reminiscences. She could see three dark spots of riders now beneath those three inevitable dust trails. She flung the empty bag away, ran back to the tavern, and—
“Ah!” She hopped over the threshold, bare sole of her foot torn on a loose nail head. The world’s nothing but a mean bully, that’s a fact. Even when you’ve big misfortunes threatening to drop on your head, small ones still take every chance to prick your toes. How she wished she’d got the chance to grab her boots. Just to keep a shred of dignity. But she had what she had, and neither boots nor dignity were on the list, and a hundred big wishes weren’t worth one little fact—as Lamb used to boringly drone at her whenever she cursed him and her mother and her lot in life and swore she’d be gone in the morning.
Shy remembered how she’d been then, and wished she had the chance now to punch her earlier self in the face. But she could punch herself in the face when she got out of this.
She’d a procession of other willing fists to weather first.
She hurried up the stairs, limping a little and cursing a lot. When she reached the top she saw she’d left bloody toe prints on every other one. She was working up to feeling pretty damn low about that glistening trail leading right to the end of her leg, when something like an idea came trickling through the panic.