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64 pages 2 hours read

Kelly Barnhill

When Women Were Dragons

Fiction | Novel | Adult | Published in 2022

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Prologue-Chapter 5Chapter Summaries & Analyses

Prologue Summary

Note: The supplemental historical documents are considered interstices in this study guide, and are therefore referred to as interstitial documents, numbered by order of appearance.

The novel opens with a cover page listing the title as When Women Were Dragons; Being the Truthful Accounting of the Life of Alex Green—Physicist, Professor, Activist. Still human. A memoir, of sorts.

The Prologue to Dr. Alex Green’s “memoir” includes two documents: a letter from Marya Tilman to her mother and a transcript of a speech given by Dr. Henry Gantz to the House of Un-American activities after the Mass Dragoning of 1955. In her letter, Marya recounts her abusive marriage to an insufferable man and refutes her mother’s insistence that motherhood helps to acclimate one to the pain of such a situation. She also describes the freedom in transcending her current existence and moving up and beyond the world. Marya is the first confirmed case of spontaneous dragoning prior to the 1955 Mass Dragoning event. The suppression of this instance and many others sparks the formation of the Wyvern Research Collective, a group of scholars dedicated to preserving, archiving, and understanding the phenomenon of dragooning, regardless of mainstream society’s attempt to deny or ignore it. Despite countless images and accounts of Mrs. Tilman’s transformation, the event is hidden from the general public.

Dr. Gantz was previously the chief of medicine at Johns Hopkins University and a research fellow at the National Institute of Health, National Science Administration, and Army Corps. In his speech, he pleads with government officials to allow the free exchange of information and knowledge about the Mass Dragoning event and the wider phenomenon of dragoning. Dr. Gantz admits that this plea may mark the end of his already failing career, but he also warns the committee of the consequences of censoring such vital information.

Chapter 1 Summary

Alex Green recounts her earliest memory of seeing a dragon when she was just four years old. At this point in Alex’s life, Alex’s mother, Bertha Green, is hospitalized for chemotherapy and cancer treatments, though the child Alex is not yet aware of this. Her family does not explain why her mother is gone, nor do they say when she will return home—if at all. But across the street from Alex lives an elderly woman who lets her help with gardening and tending to her chickens, something she loves to do. One day, Alex hears screaming and loud rumbling sounds coming from the garden, and when she goes to investigate, she sees a dragon sitting on the ground. The dragon acknowledges Alex, presses a talon to its lips, and flies away.

Chapter 2 Summary

Alex’s mother returns, though the silence surrounding both her illness and the dragoning across the street remains firmly in place. Marla, Alex’s maternal aunt, a mechanic who previously supported Alex’s mother through college and who once flew planes in the US Air Force and Army Corps, arrives to take care of her sister and Alex while Bertha recovers from chemotherapy. Alex recalls her mother being small and frail when she returns home again; in Alex’s young eyes, she is unrecognizable. Although Alex is grateful to be with her mother again, her father is quick to find excuses to leave, often going away on “business trips,” which everyone except the young Alex understands to mean that he is really with his mistress.

Meanwhile, Marla stays in the household to clean, cook, and support her sister. Alex remembers an instance in which Marla rubs her sister’s muscles and radiation scars while she and Bertha discuss poetry, school, and marriage. Alex overhears them talking about the myth of Tithonus as told through Bertha’s favorite poem by Alfred, Lord Tennyson. Bertha thinks the greatest tragedy of Tithonus is that he is shriveled and forgotten: kept but unloved. This idea causes Alex inexplicable discomfort, and she wishes that her aunt would leave, because as a child, she thinks that if her aunt leaves, everything will go back to normal and her mother will be well again.

Interstitial Document #3 Summary

In an excerpt from “A Brief History of Dragons,” a paper published in the Annals of Public Health Research in 1956 and then redacted, Dr. Gantz describes the first written record of a dragoning dating back to 310 BC, recorded by Timaeus of Tauromenium. Timaeus is a Greek historian, and in this excerpt summarized by Dr. Gantz, he records the dragoning of Queen Dido. This is the first of 25 examples from history (and their attempted erasure) that preceded the Mass Dragoning event of 1955.

Chapter 3 Summary

The tension between Bertha and Marla intensifies as Marla’s presence (and her constant allusions to Bertha’s success as a mathematician before she married and had children) becomes too much for Bertha to endure. The sisters explode into an argument, after which Bertha tells Marla to be “normal,” meaning that she should wed and have children, before she tries to come back into their lives. Marla leaves, though the sisters still attend church together, adorned in fabrics woven together with knots stitched by their ancestors and by Bertha. Alex remembers her aunt wearing slacks, not dresses, and recognizes that Marla was resisting gender roles even then. However, Marla does eventually marry a man named George who has an alcohol addiction. Alex’s memoir also hints at the impending Mass Dragoning of 1955, in which Marla is destined to participate regardless of the conflict within her own family.

Chapter 4 Summary

Alex’s cousin, Beatrice, is born to Marla and George and becomes the light of Alex’s life. When Aunt Marla and Uncle George come to visit, Alex joins the adults at the dinner table, silent and reserved, though she’d much rather be playing with Beatrice. One evening, Alex is stuck between all four adults as they engage in an argument about Bertha’s education and excellent math skills. Marla defends Bertha while Bertha herself avoids the subject, and Mr. Green laughs at the idea that women should go to college or become accountants. Marla asks Alex her own thoughts about whether she thinks her mother has special powers. Confused, Alex responds that math isn’t magic—it’s only math. Marla corrects her in an attempt to ensure that Alex understands that women are powerful. Uncle George laughs at this idea, and Marla shuts him down with only a look, seemingly arresting his behavior through magic. When she releases him, he stumbles out the door and disappears for a week.

Interstitial Document #4 Summary

Another excerpt from “A Brief History of Dragons,” an eyewitness account from Dr. Gantz, describes the transformation of Mrs. Norbert Donahue, formerly Dr. Edna Wood. First, he sees her teeth elongate. Then, her pupils change shape and her skin splits to reveal wings. While she transforms, Dr. Gantz attempts to capture her experience, but she says very little. The only thing she says is that “Everything, is, just, too, damn, SMALL [sic]” before telling Dr. Gantz to run (34).

Chapter 5 Summary

In February, Alex is playing outside while her mother takes time to herself inside the house. Alex remembers sometimes looking in on her mother during this time and seeing Bertha tying knots endlessly. Even Alex’s red mittens are adorned with these knots, and Alex notes that the bracelets that Bertha has made for Marla also have similar knots. However, when Marla visits this time, she isn’t wearing her bracelets. Marla goes into the house, inviting Alex inside to watch Beatrice while she talks with her sister. While Alex hears very little of the actual conversation, she remembers the knots in the home untangling and reforming, even the ones on her mittens. This phenomenon ends after Bertha yells “ENOUGH” and Marla leaves, saying her goodbyes to Bertha—not to Alex or Beatrice—and as Alex watches her go, she tries to remember whether her Aunt Marla’s eyes were always golden.

Prologue-Chapter 5 Analysis

Barnhill simulates authenticity by opening the novel with historical documents that build a sense of both the scientific aspects and social stigma of the phenomenon of dragoning. Before she begins to delve into the story through Alex’s perspective, she has already introduced several critical aspects of world-building, crafting both a letter and a transcript to defend and uphold the reality of her world. In this way, Barnhill employs common literary elements that are often used in works of realistic fiction and nonfiction alike: that of textual evidence. Faced with a multitude of concepts that are obscured both by societal convention and by the narrator herself, whose childhood memories harbor many misconceptions and flaws, the reader must use the interstitial documents to gain a firmer, more objective sense of the realities that underlie the phenomenon of dragoning. These documents also reveal the unexpressed rage that some women experience as they transform into rebellious dragons, implying that the oppressive society that dominates the novel is at least partially responsible for oppressing such women and suppressing the knowledge of their transformation.

This oppression bleeds into the pages of Alex’s memoir and imbues these first chapters with a wary tension that pervades the rest of the novel as well. The silence that surrounds taboo topics such as dragoning, the power of women, and the harsh reality of Bertha’s cancer cause Alex to censor herself and thus become an unreliable narrator. Because her child self is denied full knowledge of the realities that influence her family life, she can often barely recall what is fact versus what is fiction within her own history, and thus the reader must experience, by proxy, the same restrictive and confusing world that Alex grew up in. Unlike Alex, however, the reader has the benefit of analyzing the factual documentation that was either redacted at the time or completely hidden from the world. These accounts become critical to establishing the reality of dragons; without such accounts, the reader would be limited to Alex’s perspective alone and would lack the key details that make When Women Were Dragons such a philosophically powerful work.

When Chapter 2 features an in-depth discussion of Alfred, Lord Tennyson’s famous poem “Tithonus,” Barnhill uses this literary allusion to inject a variety of abstract ideas into the larger narrative. “Tithonus” is Bertha’s favorite poem not because it is beautiful, but because she can relate to its underlying philosophy. As she states, “Gods are stupid and short-sighted […] They’re like men—no sense of unintended consequences or follow-through […] [Tithonus] was broken and useless and was utterly without hope that anything could change. It wasn’t romantic at all” (17). Bertha’s interpretation of the poem suggests that she, like Tithonus, is beholden to her true love, sacrificing her own life in service to another. Bertha’s observation is tied directly to the novel’s ongoing theme of Personal Agency and the Expression of Unconditional Love, for in this cynical view of the world, the beloved is reduced to a passive object that is taken for granted, and upon which love is carelessly thrown. Likewise, middle-class American women who stayed at home in the 1950s were expected to serve their children and their husbands at the expense of their own dreams, careers, and education—just as Bertha does for her family. Because she has sacrificed so much of her own identity, the topic is extremely difficult for both her and Mr. Green to talk about—and it is also the reason Marla repeatedly raises the issue, defying social conventions by giving voice to unspoken dysfunctions.

In addition to her attempts to discuss forbidden topics, Marla is also guilty of projecting her own wishes onto her sister, a dynamic that becomes apparent when they argue. Although the narrative does not yet reveal the cause of their catastrophic argument that causes Marla to go against her own nature by marrying a man and acceding to the expected gender roles of her time, Bertha and Marla clearly do not agree on how the concepts of freedom and responsibility should manifest in the lives of women. To Bertha, her family is the most important aspect of her life, regardless of her education and intellectual prowess. Marla wishes her sister to have greater freedom, or at least to acknowledge the vital pieces of herself that she has voluntarily silenced in service to her husband and child. The young Alex does not yet understand any of this, but she does understand that something is wrong with the fundamental fabric of her family dynamics.

Within the context of this larger conflict, the knots that Bertha ties symbolize union and security for Bertha in Chapter 5, as well as the kind of freedom to be found in the quiet pursuit of creative expression. Because Bertha creates these knots for her loved ones and ties them in her free time, the practice simultaneously affords her a sense of individuality and a way to protect her family. When the knots physically unravel during Marla and Bertha’s fight, something abstract is also coming undone—maybe irrevocably, and the cataclysmic events to come will change all the characters indelibly.

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