Once Upon a Future: Cinderella Redefined in Marissa Meyer's "The Lunar Chronicles" series

Once Upon a Future: Cinderella Redefined in Marissa Meyer’s The Lunar Chronicles series American Young Adult Literature (21st century) Amaiur Puente Otero Degree in English Studies Academic Year 2023/2024 Supervisor: Iraide Talavera Burgos Department of English and German Philology and Translation and Interpretation 2 Abstract Once upon a time, fairytales were written. Since then, they have marked the childhood of many. For generations, they have portrayed and served as vehicles of social norms of all kinds, particularly regarding femininity. A notable example is that of the French nobleman Charles Perrault and his famous “Cinderella”, whose protagonist is the quintessential example of beauty, passivity, and overall normativity. To this day, more and more adaptations are being made of this timeless tale. Among these stands The Lunar Chronicles, Marissa Meyer’s young adult science fiction saga: her main character, Cinder, is a futuristic version of Cinderella. This paper aims to demonstrate that Meyer’s modern heroine subverts her traditional counterpart on an absolute level, being that she is three times non-normative as a woman, a cyborg, and a Lunar. Drawing from the theories of several feminist literary critics such as Simone de Beauvoir or Judith Butler, the first part of the analysis deals with how Cinder breaks with the standards of femininity represented by Cinderella. Their appearance and role in the story are juxtaposed to observe their differences. The second and third sections follow the same connecting thread, as both are based on Antonio Gramsci’s and Erving Goffman’s concepts of cultural hegemony, hegemonic identity, and stigma. Cinder’s cyborg identity is explored first. The analysis follows her marginalization for not being entirely human, her struggle with that stigma, her eventual self-acceptance, and her role in changing the social order. Similarly, her belonging to the Lunar race places her as an outcast, but in the end, empowers her to start a revolution and overthrow the system. To finish, as further research, the paper suggests analyzing Marissa Meyer’s other female heroines or exploring modern non-Western reinterpretations of fairytales. Keywords: Cinder, Cinderella, fairytale, non-normativity, femininity, hegemony, stigma 3 Table of contents 1. Introduction .............................................................................................................4 2. Theoretical background ..........................................................................................5 2.1 Feminist literary criticism ....................................................................................5 2.2 Cultural hegemony and identity ............................................................................6 3. Analysis of the novels ...............................................................................................7 3.1 Cinder, the woman: “Don’t call me princess, I’m a mechanic” .............................8 3.2 Cinder, the cyborg: Defying the limits of humanity ............................................ 13 3.3 Cinder, the Lunar: An alien to society................................................................. 18 4. Conclusion ............................................................................................................. 23 Works cited ................................................................................................................ 25 4 1. Introduction Regardless of age, one is likely familiar with tales of damsels in distress, evil queens, fairy godmothers, and charming princes. Fairytales are deeply rooted in the collective imagination of many societies and have long imparted teachings and values generation after generation. Initially transmitted orally between adults, folktales stemmed from matriarchal tradition until they were “patriarchalized” in the Middle Ages, notes Zipes (7). This first change paved the way for the written adaptation of the genre in the 17th and 18th centuries with a new target audience in mind. Thereafter, fairytales sought to educate all children on upper-class norms of behavior, focusing on gender ideals (Zipes 9, 31). A prominent figure in this venture was Charles Perrault. As a distinguished member of the French aristocracy, he was devoted to spreading his noble discourse throughout Europe (36). Zipes maintains that Histoires ou contes du temps passé (1697), 1 his greatest work, has influenced Western Civilization profoundly as of today (29-32). This collection includes tales as iconic as “Sleeping Beauty”, “Little Red Riding Hood”, or, most notably, “Cinderella” (Zipes 39). 2 Since then, Perrault’s “Cinderella” has undergone countless adaptations, ranging from films like Disney’s classic animated version (1950) or the romantic comedy A Cinderella Story (2004), to the satirical fantasy novel Ella Enchanted (1997). As these diverse renditions unfold, contemporary reinterpretations of the tale emerge, increasingly challenging the traditional narrative – especially concerning gender roles. However, in Marissa Meyer’s book series The Lunar Chronicles (2012-2015), the transformation of the character of Cinderella reaches a new dimension. Featuring four strong female protagonists and addressing themes such as discrimination and self-acceptance, Meyer’s young adult science fiction novels have charmed teenage readers worldwide. Cinder (2012), the first book in the tetralogy, became a New York Times best-seller in the first week of its release and now awaits a movie adaptation by Warner Bros. Pictures (Brodeur; D’Alessandro). Even if the nods to the classic “Cinderella” are noticeable, Cinder and the whole series depart from the traditional fairytale narrative by being set in a futuristic, dystopian universe. In such a distant setting, Cinder, the protagonist of the saga, differs significantly from her traditional counterpart. 1 Translated as Stories or Tales of Past Times. 2 The full title of “Cinderella” is “Cinderella, or The Little Glass Slipper”. The shortened version will be used in this paper. 5 This paper defends the idea that Marissa Meyer’s Cinder subverts the character of Cinderella not only by challenging traditional conceptions of femininity, as could be expected, but on multiple levels. While Perrault’s Cinderella embodies normativity and upholds the status quo, Cinder defies societal norms as a woman, a cyborg, and a Lunar. On this basis, I will present the theoretical background that explains Cinder’s nonnormativity. Then, the analysis of the novels will follow, preceded by a brief introduction to Marissa Meyer and her work. This analysis will integrate concepts of femininity, agency, hegemony, and stigma, in addition to occasional comparisons to Perrault’s “Cinderella”. Lastly, I will provide the conclusions of this analysis and suggestions for further research. The style guide I will follow in the paper is the ninth edition of the Modern Language Association (MLA). 2. Theoretical background This section presents the theoretical framework for the analysis of The Lunar Chronicles. First, it explores some feminist notions necessary to understand Cinder’s deviation from traditional femininity. Second, it discusses the concepts of cultural hegemony and stigma to study Cinder’s broader non-normativity and social impact. 2.1 Feminist literary criticism As described by Cranny-Francis et al., feminist literary criticism aims to challenge the male-established literary canon and, in doing so, dismantle gender conventions (112-15). By adopting the role of “resistant readers”, feminist critics actively reject the patriarchal and passive conceptions of femininity (118-22). Simone de Beauvoir labeled such conceptions as myths, which, she argued, shape women’s bodies and behaviors to fit the desires of men (183). These ideals of womanhood relegate women to being objects (283). Moreover, as they are constructed and established in society, girls are raised to conform to them (Beauvoir 305; Wittig 244). For these reasons, Beauvoir affirmed that women are products of society, proclaiming that “one is not born, but rather becomes, woman” (293). In this line of thought, Butler claims that gender identity is performative and fluid, “tenuously constituted in time … through a stylized repetition of acts” (“Performative Acts” 419). However, according to this author, these acts are conventionally treated as “expressive” of a certain gender, unmovable and determined by a person’s sex (Butler, 6 “Performative Acts” 426-27; Butler, Gender Trouble 4). Thus women, due to their female sex, are expected to look and behave in a particular way. Women naturalize these prescriptions and deem them desirable, for deviation from them, acting one’s gender incorrectly, leads to the individual being considered culturally unintelligible or “incoherent” (Butler, “Performative Acts” 421-22, 427; Butler, Gender Trouble 23). In the words of other critics, the non-conforming woman is branded as a “rebel”, “not feminine” (Beauvoir 740, 275), “not a real woman” (Wittig 245), or “defective” (Meyers 8). In essence, failure to meet normative ideals of femininity results in the marginalization and shaming of the woman. Nevertheless, by acknowledging gender as a performance – an ongoing, non-fixed process –, the possibility of transformation emerges (Butler, “Performative Acts” 419-20; Butler, Gender Trouble 23). This is where the concept of agency comes into play. The feminist philosopher Diana T. Meyers understands agency as the capacity to be autonomous, to determine and actively enact oneself instead of conforming to external impositions (4-5). Since Beauvoir argued that womanhood entails a lack of sovereignty, reclaiming that lost autonomy and agency is essential (283, 739). To achieve this, women must embrace and assert their true identity according to their desires (Meyers 20; Wittig 247). Thereby, through the reiteration of an alternative performance or identity, dominant conceptions of gender and femininity will be effectively contested (Butler, Gender Trouble 185-88; Meyers 27). 2.2 Cultural hegemony and identity Hegemony is understood as the dominance that a particular class asserts over inferior social groups (Ramos; Lears 568). This control, as Ramos explains, goes beyond mere economic superiority and comprises the cultural domain as well. In Prison Notebooks, Antonio Gramsci introduced the concept of cultural hegemony to explain how the dominant class sustains and reinforces its supremacy by imposing its values and views as the norm (Ramos; Lears 569). This norm constitutes what Gramsci called the “organic ideology” and is disseminated through several institutions, such as the family and the legal system (Ramos). As a result, it becomes collectively approved and naturalized – hence the “organic” – even by those who might not fully subscribe to it, thus perpetuating the status quo (Ramos; Lears 573-74; Drayton and Prins 113-15). 7 Gramsci’s concept of cultural hegemony intersects with the sociologist Erving Goffman’s work. Goffman explored how deviation from societal norms and expectations leads to a process of stigmatization that affects how individuals enact and perceive themselves. 3 He talks about a “hegemonic identity” represented by the dominant group, whereby those who differ are regarded as “undesirable”, “not quite human”, or “deviant” (Drayton and Prins 114-16; Goffman 5, 140). This labeling results in a “normal [vs.] deviant … Us [vs.] Them” dichotomy, as identified by the sociologist Stuart Hall (qtd. in Cranny-Francis 141). In this context, the deviant, who is subject to hegemonic views on identity, experiences shame and self-deprecation for whichever aspect makes them different, whether it be a physical attribute or their race (Goffman 4-7). The individual will thus try to cover these “stigma symbols” and blend in as normal (92-94). Furthermore, if the discovery of this stigmatized condition is made late in life, the deviant’s struggle with their identity will intensify due to their deeply internalized notions of normativity and acceptability (34-37). Eventually, Goffman notes, the stigmatized individual may come to naturalize their stigma and accept their true self (122-23). This is in accordance with Gramsci’s theory and his belief that a group's hegemonic status and values are not fixed and can be contested (Ramos; Lears 571). To do so, the subordinate groups – the proletariat in Gramsci’s Marxist framework – must develop class consciousness, that is, acknowledge their class identity (Ramos). This acknowledgment empowers them to craft a “new collective will” that resonates with the marginalized (Ramos; Lears 578). Through this process, Gramsci concludes, a group can achieve hegemonic status, reshape social norms, and effectively transform the existing social order (Ramos). 3. Analysis of the novels Before delving into the analysis of Cinder, it is relevant to introduce Marissa Meyer and her work. Meyer is a bestselling American writer with a Bachelor of Arts in Creative Writing and a Master of Arts in Publishing. She began writing online fanfiction and is now renowned for her reinterpretations of classic tales. Among these stand Heartless (2016), a novel that explores the origins of Lewis Carroll’s Queen of Hearts, or Gilded 3 See more in Stigma: Notes on the Management of Spoiled Identity (1963) and The Presentation of Self in Everyday Life (1956). 8 (2021), a darker version of Rumpelstinskin’s story. The Lunar Chronicles, Meyer’s magnum opus, comprises four main books, each named after the female protagonist and each reimagining a classic fairytale: “Cinderella” in Cinder (2012), “Little Red Riding Hood” in Scarlet (2013), “Rapunzel” in Cress (2014), and “Snow White” in Winter (2015) (“About Marissa”). Cinder, Meyer’s redefined Cinderella, is the main character in Cinder (2012) and remains the central heroine and the connecting thread throughout the rest of the series. She is introduced as a cyborg mechanic living in a futuristic, cyberpunk-inspired New Beijing. In addition to cyborgs, the story includes humans or Earthens, 4 androids, and Lunars. The latter are inhabitants of Luna, a former Earthen colony on the moon, and most have powers of mind manipulation. This diverse universe unfolds in a post-World War IV era marked by the lethal letumosis plague, 5 cyborg discrimination, and tensions between the Earth and Luna. The interplanetary conflict escalates as the powerful Lunar queen Levana seeks to extend her tyranny by marrying Kai, emperor of the Eastern Commonwealth on Earth. However, Cinder emerges as a major threat to Levana’s enterprise when it is revealed that she is her niece, the long-lost Lunar princess Selene. After that revelation, Cinder embarks on a journey of adventure, friendship, romance, and self-discovery. Adopting the role of a revolutionary, she eventually overthrows Levana and transforms societal dynamics, building a better world for Earthens, cyborgs, and Lunars alike. 3.1 Cinder, the woman: “Don’t call me princess, I’m a mechanic” Ever since the first chapter of the first book, Cinder defies gender expectations. This is evident during her encounter with Emperor Kai, as he is surprised to discover that “the best mechanic in New Beijing” is not the man he anticipated but a sixteen-year-old girl (Meyer, Cinder 10). Cinder admits to being accustomed to these reactions. This incident reminds of Butler’s notion of “incoherence”, where a woman engages in acts conventionally linked with masculine identities (Gender Trouble 23; “Performative Acts” 426-27). Throughout the series, Cinder internalizes her being a mechanic as part of her identity. When Emperor Kai questions her dancing skills, Cinder replies, “I’m a mechanic” (Meyer, Cinder 341). She also gives this answer further in the series to her android friend Iko, who scolds her for her disheveled appearance: “Your hair is a mess, 4 “Earthen” is the term Meyer uses instead of “earthling”. 5 Letumosis is a virus, similar to the bubonic plague, that has devastated the Earth for years. Lunars are immune to it because they are the ones that created it as a biological weapon (Meyer, Cress 471-72). 9 by the way. Honestly, Cinder, can’t you look presentable for more than five minutes?” (Meyer, Cress 441). Cinder’s appearance as a mechanic is tomboyish and unkempt. Even when she attends the Annual Ball, a royal event that requires formality, she appears imperfect and chaotic, “a walking disaster” (Meyer, Cinder 325). Her improvised attire includes a wrinkled, muddy dress and silk gloves, once beautiful, now ruined by grease stains. As a consequence, she faces revulsion, gossip, and mockery, which contribute to her anxiety (336-37). Moreover, she must wear her old prosthetic foot, which is uncomfortable and too small, just so she can fit into her shoes and, by extension, fit in. Otherwise, her cables and cyborg nature would be exposed to all the human attendants (324). In fact, Cinder’s identity as a cyborg is what most profoundly impacts her femininity and, consequently, her desirability and value as a woman: … at fourteen, Peony had already developed curves that Cinder couldn’t begin to hope for. If Cinder’s body had ever been predisposed to femininity, it had been ruined by whatever the surgeons had done to her, 6 leaving her with a stick-straight figure. Too angular. Too boyish. Too awkward with her heavy artificial leg. (Meyer, Cinder 33-34) In this excerpt, Cinder compares herself unfavorably to her sister and engages in selfdeprecation. Having a desirable body, Peony seems to conform to societal standards of femininity, while Cinder does not. This idea is reinforced when Pearl, Cinder’s other sister, makes the following comment: “‘Is that it? Did you think the prince—no—the emperor would find it in his heart to overlook all your…’—she twirled her hand— ‘shortcomings?’” (300). Furthermore, she notes: “First, I’m going to tell him all about your ugly metal extremities and how much of an embarrassment you are … And I’m going to make sure he also realizes how much more desirable I am” (304). Pearl’s remarks show that she bases both her and Cinder’s worth and desirability on Kai’s potential approval. The reason why Kai’s opinion is important is that he is a young, handsome royal. Thus, many, if not most, girls in the Commonwealth worship him and seek his validation (39-41). Pearl’s derogatory comments corroborate Beauvoir’s assertion that women are traditionally defined in relation to men and that their bodies must conform to 6 At the age of three, Cinder was nearly killed by Queen Levana in a fire. She was rescued and brought to Earth, where she underwent cybernetic surgery due to her severe injuries (Meyer, Scarlet 313). 16 creature” unworthy of affection (Meyer, Cinder 304), and Adri once calls her “little aberration”, claiming that such a nickname is even “too kind” for Cinder (Meyer, Scarlet 289). Furthermore, as Cinder recalls, her metal limbs are usually deemed “grotesque, unnatural, disgusting” (Meyer, Winter 753), “eccentricities” that she is pressured to hide if she wants to mingle with humans (Meyer, Cinder 25). This labeling phenomenon stems from the fact that humans constitute what Goffman defines as “hegemonic identity” and thus feel entitled to stigmatize and abuse the individuals who deviate from it (Drayton and Prins 114-16). Throughout the series, Cinder thus struggles not only with social norms of femininity but with the hegemonic ideal of humanity itself. Following Gramsci’s theory, since this ideal and the bias against cyborgs are deeply ingrained in society, she inevitably internalizes them (Lears 573). Consequently, her self-perception is deeply affected, as Goffman suggests occurs in these cases. First, there is shame and self-deprecation (Goffman 7). Cinder’s internalization of the stigma surrounding cyborgs results in her insulting herself, just as others do. She regards her limbs as “monstrosities” (Meyer, Cinder 32) and calls herself a “freak” (126). When Emperor Kai, unaware that she is a cyborg, invites her for the first time to the Annual Ball, she is immediately overcome with anxiety: “he [Kai] didn’t know who, what, he was asking. If he knew the truth…how mortified would he be if anyone found out?” (164; emphasis added). Her fear is even more patent when, in that same interaction, he tries to grab her metallic hand: “She mentally urged the robotic limb to go soft, to be pliant, to be human” (163). This last instance connects with Goffman’s second stage in the process of stigma management: the desire to hide one’s stigma and pass as normal (92-94). In this case, throughout the first two books, Cinder is committed to concealing the most prominent symbol of her cyborg self, her left hand, by wearing gloves. Regardless of her discomfort, she never removes them, always making sure they cover her hand as a protective shield (Meyer, Cinder 5-8, 223). Additionally, she once contemplates undergoing skin grafting to permanently modify her hand and make it look human and normal (31), although in the end she decides against that idea. All these actions reflect Cinder’s rejection of her cyborg self. Her perspective, however, changes significantly in the second half of The Lunar Chronicles. Before consolidating herself as a revolutionary at the end of Cress, she spends time in a colony of Lunar migrants in Africa. The people there recognize her as the rightful heir to the Lunar throne and see her as a symbol of hope to overthrow Queen Levana (Meyer, Cress 220-21). 17 Therefore, for the first time, Cinder is surrounded by people who not only do not repudiate her cyborg identity but even admire her for it. What once was a source of stigma becomes a source of honor for Cinder, as she sees people wearing cyborg-looking clothes, accessories, and even tattoos. This inspires in Cinder an unprecedented sense of belonging and validation: “She wasn’t used to being accepted by strangers, even appreciated. She wasn’t used to being admired” (258). As she becomes a visible cyborg representative, she slowly begins to instill change in people. For instance, Emperor Kai is prompted to reflect on the treatment of cyborgs in society, knowing that Cinder – whom he has feelings for – is one of them: “Why cyborgs? … How did our society decide that their lives are worth less? … Is it possible the laws are wrong?” (305-7). Eventually, he decides to interrupt the previously mentioned cyborg drafts as a first step toward recognizing cyborg rights. This decision fills Cinder with gratitude and pride (311-13). As societal attitudes towards cyborgs shift, so does Cinder’s self-perception. She gradually normalizes her non-normative cyborg identity, stops hating it and embraces it with newfound confidence. According to Goffman (122-23), the acceptance of their identity is part of the process stigmatized individuals go through. This transformation is particularly evident in Cinder’s attitude towards her cyborg hand. Although she constantly covered it with gloves, now she discards them, admitting that they “felt like a lie” (Meyer, Winter 167). She also holds Kai’s hand with her cyborg hand without hesitation, when before she panicked about that – a reaction she admits was “silly and vain” (768-72). Furthermore, while presenting herself naturally and not allowing hegemonic views on identity to influence her actions anymore, Cinder finds value in being a cyborg. After Emperor Kai and Queen Levana’s wedding, Cinder is captured and undergoes trial during their coronation ceremony. During this time, her cybernetic enhancements prove invaluable as they protect her from Levana’s powers of mind-control: “[Levana] couldn’t fool Cinder. Or, rather, she couldn’t fool Cinder’s internal computer … the two parts of her brain went to war, trying to figure out which side should be dominant. This time, she let the cyborg side win” (447-48). Accepting her cyborg nature, Cinder bravely fights Levana’s soldiers by herself and emerges victorious against all odds, using her cyborg brain and limbs as weapons (449-51). However, she accidentally falls into a lake, which results in temporary damage and loss of her cybernetic enhancements. The lack of those practical enhancements brings Cinder to a meaningful realization: “After five years of wishing she was like everyone else, now she missed all those conveniences that had come 18 with being cyborg” (667). This reflection is of great significance, as it demonstrates once and for all Cinder’s evolution regarding her cyborg identity, which she now embraces fully. Lastly, one could compare Cinder’s acceptance of her cyborg identity to the development of what Gramsci defines as class consciousness among the proletarians (Ramos). Acknowledging her class identity empowers Cinder to challenge the social order that has legitimized the bias against cyborgs. Thus, when after overthrowing Levana she reunites with the Earthen leaders to introduce herself as the new queen of Luna, she takes advantage of the reunion to advocate for the rights of cyborgs. This decision aligns with Gramsci’s notion that integrating stigmatized groups is essential in the way for social change (Ramos; Lears 578): For years, cyborgs have been treated as secondary citizens … There’s a prejudice surrounding us, that because we’ve been given unnatural abilities—man-made abilities—we’re a danger to society. But it isn’t true. We just want acceptance, like anybody else. And so, my request is that all laws regarding cyborgs be reexamined, and we be given the same equality and basic rights as everybody else. (Meyer, Winter 787) The Earthen leaders consent to Cinder’s propositions, which signifies a major transformation of the established social norms and order. Whereas “Cinderella” ends with the protagonist marrying the prince and not making any significant structural change (Perrault 77), Cinder’s journey is one of acceptance and transformation. From being a marginalized, non-normative cyborg, she evolves into a powerful agent of social change who defies and successfully transforms the hegemony of the human species in a way her fairytale counterpart could not. 3.3 Cinder, the Lunar: An alien to society In the first book, Cinder discovers that, in addition to being a cyborg, she is also Lunar – that is, she is native to the former Earthen colony. That makes her part of yet another minority on Earth, as Earthens mistrust and fear the inhabitants of Luna. This negative perception is illustrated particularly in the first two books of the series. For example, Torin – Emperor Kai’s advisor – says about Lunars that “every last one of them has been greedy, violent, corrupted by their own power. It’s in their blood” (Meyer, Cinder 114). This statement reveals that Lunars are seen as inherently cruel and immoral, a belief voiced by 19 the rest of Earthens. In the face of a possible union between the Earth and Luna, and as the Lunar queen Levana visits their region, the citizenry of the Eastern Commonwealth shows their disdain with the slogan “No alliance with evil!” (202). The stigma is also evident with Iko, Cinder’s best friend, automatically likening Lunars to criminals purely because of their origin. She states that “Lunars and convicts [are] untrustworthy and unredeemable as a general rule” (Meyer, Scarlet 189). These few examples are proof of the prejudice that Earthens hold against Lunars, viewing all of them as unreliable, dangerous, and frightening. The reason behind such bias is similar to the bias that Earthens feel towards cyborgs, yet somewhat more complex due to the intricate nature of Lunars. Cinder introduces them to the reader as follows: Lunars were a society that had evolved from an Earthen moon colony centuries ago, but they weren’t human anymore. People said Lunars could alter a person’s brain—make you see things you shouldn’t see, feel things you shouldn’t feel, do things you didn’t want to do. Their unnatural power had made them a greedy and violent race. (Meyer, Cinder 43) In this passage, Cinder, unaware of her Lunar identity, perpetuates some negative stereotypes associated with Lunars. Remarkably, she describes them as “greedy” and “violent”, the exact words Torin, the advisor of Emperor Kai, employs. This repetition confirms that these opinions about Lunars are widely held in society. Drawing from Gramsci’s theory of cultural hegemony, it can be concluded that these views are hegemonic, imposed by the dominant group and accepted as the norm (Ramos; Lears 56869). In the previous section, it has been stated that humans constitute the dominant group in question, and with that, they establish what Goffman refers to as “hegemonic identity” (Drayton and Prins 114), that is, the identity considered preferable. This remains the same in the case of Lunars; the preceding passage reveals that they are considered non-human due to their supernatural abilities. Like cyborgs, Lunars are enhanced beings, superior to humans in a way, and thus evoke the posthuman anxieties discussed by Insenga (56). However, unlike cyborgs, Lunars are simultaneously referred to as a race because they descend from an Earthen colony that decided to settle on the moon. Consequently, “Lunar” could be read as an ethnicity distinct from “Earthen”. In this regard, the scholar Jill Coste suggests that “Earthen” could altogether symbolize whiteness. Her theory stems 20 from the privilege and superiority of Earthens compared to Lunars, who are established as “the Other” (Coste 65-66). In summary, it can be said that the non-normativity of Lunars is more profound than that of cyborgs due to them being both non-human and non-Earthen, while cyborgs are just non-human. This double deviation from the norm explains the disdain with which Lunars are treated, as illustrated in earlier examples. The mistreatment of Lunars is consistent with Goffman’s theory of stigma, according to which the hegemonic group marginalizes those who are different (Drayton and Prins 116). Thus, as a Lunar, Cinder is exposed to further discrimination. She defies social norms of femininity, humanity, and now race, a situation radically different from that of Perrault’s protagonist: despite being dehumanized by her family (Insenga 62; Perrault 68), Cinderella is not seen as non-human in the way Cinder is. Furthermore, in terms of race, Cinderella is equally normative and not a victim of any form of racial prejudice. Indeed, Coste points out that Cinderella is widely accepted and portrayed as Caucasian (64). Given that Perrault wrote her as an embodiment of French and, hence, Western ideals (Zipes 36), Cinderella is essentially a white, European character. Therefore, by depicting Cinder as non-Earthen and nonhuman, Meyer diverges again from Perrault’s tale. When Cinder’s Lunar identity is revealed, the negative perceptions towards Lunars begin to be directed at her as well. She receives death threats from various people: “That girl’s a Lunar! … She should be executed!” (Meyer, Scarlet 17), “I wouldn’t blink twice before sending you off to rot. It’s the best your kind deserve” (92). These lines show that Lunars, like cyborgs, are not treated humanely, as their lives – Cinder’s life, in this case – are deemed worthless. Moreover, the words “your kind”, which are also used towards Cinder when she is despised for being a cyborg, reinforce the divide between humans and Lunars. Those words demonstrate that Lunars are regarded as different and inferior, a tendency that aligns with Hall’s “Us [vs.] Them” theory (qtd. in Cranny-Francis 141). Apart from this, a reaction towards Cinder’s race that is particularly remarkable is that of Emperor Kai. The romantic connection they build during the first book is tested when he learns about Cinder being Lunar. He wonders, “Was it all in my head? A Lunar trick?” (Meyer, Cinder 367). He cannot trust Cinder, nor the authenticity of their relationship, and for a while, he continues to dismiss his feelings as just the product of the mind-manipulation powers of Lunars. He overcomes his skepticism once he reunites with Cinder at the end of Cress. Nevertheless, before their reconciliation, Kai goes as far as to bolster policies 21 against Lunar immigration to Earth, wanting to comply with the “Interplanetary Agreement of 54 T.E.” (Meyer, Cress 252). This treaty, this set of rules, establishes legally the basis for the discrimination and rejection of Lunars, as it fosters the notion of Lunars as dangerous beings that must be kept away. The creation of such legislation validates Gramsci’s point, which states that the dominant group resorts to the legal system, among other institutions, to ingrain their societal beliefs (Ramos; Lears 569). As Gramsci’s theory concludes (Ramos; Lears 573), such negative stereotypes are usually assimilated and perpetuated; in the case of Cinder, the prejudices of the Earthen population towards Lunars are established and consolidated. Torin, Iko, Kai, various anonymous citizens, and Cinder herself are proof of this consolidation. Of course, following Goffman’s ideas on the handling of stigma (34-37), Cinder’s late discovery of her being a Lunar causes her to struggle with her Lunar identity even more intensely than she struggles with her cyborg identity. The reason for this struggle is that, as she has grown up unaware of her Lunar nature, she has adopted preconceived ideas about Lunars that are accentuated when she discovers her true origins: To be cyborg and Lunar. One was enough to make her a mutant, an outcast, but to be both? She shuddered. Lunars were a cruel, savage people. They murdered their shell children. They lied and scammed and brainwashed each other because they could. They didn’t care who they hurt, so long as it benefitted themselves. She was not one of them. (Meyer, Cinder 178) Following this revelation, she frequently distances herself from the Lunars, refusing to acknowledge she is one them: her referring to Lunars as a “them” and not an “us”, reflects again the segregation of Lunars. Unlike in the case of cyborgs, who have visible mechanical parts, there is no tangible “stigma symbol”, as Goffman defines it (92), linked with being Lunar. Nonetheless, Cinder still experiences shame and self-hate, feelings that are congruent with Goffman’s theory of stigma (7). She struggles particularly with her Lunar powers, as she is influenced by the same anxieties and prejudices as everyone else in Earthen society. After the final events of the first book, when Cinder attacked Levana, she becomes a wanted criminal. To avoid capture, she steals a military spaceship to flee to space, for which she uses her powers to leave a man unconscious. When she does this, she worries about becoming evil, “the terror to society that everyone believed her to be” (Meyer, Scarlet 92). As the story progresses and the conflict escalates, these fears increase 22 and consume Cinder. She arrives at the point of declaring that her Lunar abilities are turning her into a “monster” (367). Similarly to how her perception of her cyborg self changes, Cinder’s inner conflict with her Lunar identity ends in the third and fourth books of the series. In Cress, Cinder stays with a community of Lunar refugees in the Sahara. They know who she is and admire her for challenging Levana. Thus, they welcome her, which in turn helps Cinder accept herself. When she meets this community, she finds it moving that they receive her with some food: “It was a gift…from Lunars. From her own people” (Meyer, Cress 187). It is the first time that Cinder refers to them as such instead of distancing herself from them, which is a big step in her self-acceptance journey. Later, the same group of Lunars uses their Lunar powers to defend Cinder when an Earthen army comes to arrest her due to her actions at the Annual Ball. Besides, during that incident, they profess their faith in Cinder to overthrow Queen Levana (368-69). In revenge, Levana kills them. The news devastates Cinder but, at the same time, encourages her to embrace her Lunar identity and defend the Lunar population by beginning a revolution (546-550). Then, in Winter – the fourth book of the series –, Cinder arrives in Luna and witnesses the harsh reality of the Lunar people. Most are workers who live in poverty, depend on food rations, and endure unhealthy living and working conditions that expose them to sickness. Furthermore, Levana controls the media and the transportation between the sectors into which the population is divided, leaving Lunars isolated from one another and, therefore, unable to unite against her (Meyer, Winter 204-207). This situation marks Cinder’s full acceptance of her Lunar nature since she is able to empathize with Lunars and dismantle the misconceptions she had internalized about them on Earth. For instance, she begins to see her Lunar powers not as terrifying or monstrous but as an asset (310). Furthermore, she identifies herself as part of the Lunar people through her use of language. When she introduces herself to them to call for a revolution, she delivers a powerful speech: “I will not stand aside while my aunt [Levana] enslaves and abuses my people here on Luna, and wages a war across Earth … No longer will we obey her curfews or forgo our rights to meet and talk and be heard … if we join together, we can be invincible” (314-15; emphasis added). Thus, she advocates for Lunar rights, consolidating her position with the following declaration: “It’s the people’s revolution now, not mine” (355). 23 While she initially rejected Lunars, now Cinder has become one with them, to the point of fighting vehemently for their cause. Essentially, she reconciles with her Lunar nature and embraces it wholeheartedly. Therefore, she confirms Goffman’s estimation that selfacceptance is a possible final step in the experience of stigmatized people (122-23). In Gramscian terms (Ramos), like the proletariat, Cinder demonstrates having developed class consciousness as she acknowledges herself as part of the Lunar minority. In doing so – following Gramsci’s line of thought (Ramos; Lears 578) – she can defy power structures successfully. Her triumph over Levana liberates Lunars from oppression, but, most importantly, enables a change in the dynamics between the Earth and Luna. When Cinder and other Earthen leaders reunite once the war in Luna is over, Cinder pleads for the abolition of anti-immigration laws. Her goal is for Lunars to be treated humanely and to build trust and respect between the two nations (785-88). The Earthen representatives are receptive to such suggestions, which is a new attitude that entails a significant social change. Their first step is to remove the policies that justified the bias against Lunars. This removal represents a first step towards dismantling the prejudiced beliefs the Earthen population had historically internalized. Thus, Cinder completes her redefinition of Perrault’s “Cinderella”. By challenging and reshaping the status quo, which, as previously discussed, Cinderella does not do (Perrault 77), Cinder consolidates herself as the antithesis of the classic princess in every possible aspect. 4. Conclusion The analysis of Cinder throughout The Lunar Chronicles (2012-2015) has shown that Marissa Meyer’s redefined Cinderella subverts Perrault’s character and tale thoroughly. This divergence has first been observed in Cinder’s non-normativity as a woman. Her appearance and role in the novels challenge the traditional ideals of femininity that fairytales like “Cinderella” establish and endorse. While Cinderella is the epitome of beauty, Cinder is not conventionally attractive or feminine. Moreover, Cinderella is passive and submissive, whereas Cinder is an active and autonomous character who adopts a role often associated with men. That enables her to define herself on her own terms, breaking free from the constraints of gender conventions. 24 Cinder’s defiance of the norm goes further: she is a cyborg in a human-dominated society. Her nature goes against the hegemonic human identity; thus, she is stigmatized and dehumanized in a much more institutionalized way than the character of Cinderella. Besides, while the classic princess complies with social norms and perpetuates the status quo, Cinder’s non-normative cyborg identity – which she struggles with but in time embraces – allows her to challenge human hegemony. Likewise, Cinder’s being a Lunar violates ideals of both humanity and race. Unlike Cinderella, who does not suffer racial discrimination, Cinder is rejected and discriminated against by Earthens, who hold many negative assumptions about Lunars. Cinder internalizes these prejudices and has problems accepting her nature. However, she eventually acknowledges her Lunar identity as she leads a revolution in Luna. Through this revolution, Cinder overthrows the older social order and constructs a new, inclusive one. In conclusion, Meyer’s young adult novels establish themselves as the antithesis of traditional fairytales. Through a mold-breaking character such as Cinder, who is unique, authentic, and revolutionary, Meyer offers young readers a role model distinct from the classic fairytale princesses. Indeed, future research could focus on Scarlet, Cress, and Winter, Meyer’s other protagonists, to see how they modernize the characters of Little Red Riding Hood, Rapunzel, and Snow White, respectively. Furthermore, it would be interesting to consider reinterpretations of fairytales written in other languages or created by authors from a different cultural background. Marissa Meyer is American, and most known fairytale authors – Perrault, the Grimm brothers, or Hans Christian Andersen – are European. Therefore, exploring non-Western works could provide a new and valuable perspective to the analysis of contemporary fairytale adaptations. 25 Works cited “About Marissa.” Marissa Meyer, https://www.marissameyer.com/about-marissameyer/. Accessed 13 Mar. 2024. Beauvoir, Simone de. The Second Sex. Translated by Borde, Constance and Sheila Malovany-Chevallier, Vintage Books, 2011. Brodeur, Nicole. “YA author Marissa Meyer reaches for the stars with her ‘Lunar Chronicles’.” The Seattle Times, 6 Nov. 2015, https://www.seattletimes.com/entertainment/books/marissa-meyer-reaches-forthe-stars-with-her-lunar-chronicles/ Butler, Judith. Gender Trouble: Feminism and the subversion of identity. 1990. Routledge, 1999. ---. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” McCann and Kim, pp. 419-30. Coste, Jill. “Enchanting the Masses: Allegorical Diversity in Fairy-Tale Dystopias.” Race in Young Adult Speculative Fiction, edited by Gilbert-Hickey, Meghan and Miranda A. Green-Barteet, University Press of Mississippi, 2021, pp. 54-72. Cranny-Francis, Anne et al. Gender studies: Terms and debates. Palgrave Macmillan, 2003. D’Alessandro, Anthony. “Warner Bros Pictures Animation Inks First-Look Deal With Locksmith Animation; First Pics Are ‘Bad Fairies’ & ‘The Lunar Chronicles’.” Deadline, 9 Jun. 2023, https://deadline.com/2023/06/warner-bros-animationlocksmith-bad-fairies-lunar-chronicles-1235413420/ Doughty, Terri. “Putting the Punk in a Steampunk Cinderella: Marissa Meyer’s ‘Lunar Chronicles’.” Filoteknos, edited by Deszcz-Tryhubczak, Justyna et al., vol. 5, Uniwersytet Wrocławski, 2015, pp. 46-58. Drayton, Brendali and Esther Prins. “The Enactment of Hegemony through Identity Construction: Insights from ThePresentation [sic] of Self in Everyday Life.” Adult Education Research Conference, New Prairie Press, 2009, pp. 113-118. Gasper, Phil. “Capitalism and alienation.” International Socialist Review, no. 74, 2010, https://isreview.org/issue/74/capitalism-and-alienation/index.html