Myths of Origin Four Short Novels - By Catherynne M. Valente Page 0,190

on readers who are not collectors, I print the differing texts here:

Blue:

On the other hand, the wavelength of each potential self is determined by its distance from the fulcrum-crone. But if we understand any of an infinite series of women and ur-women to be fulcra, the wavelength of each self is also infinite, both infinitely short and infinitely long, infinitely red and infinitely blue. Instinctively, these selves seek each other out and merge, unable to comprehend the depravity of their conviction that a single woman can serve as a hinge around which they all turn. The resulting sea of constantly merging and disengaging selves resembles the primordial mitosis-swamp—the infinite female, treading water in a mass of pure, white light.

Red:

On the other hand, the wavelength of each potential self is determined by its distance from the fulcrum-crone. But if we understand any of an infinite series of women and ur-women to be fulcra, the wavelength of each self is impossible to determine, being both identical with and impossibly far from its point of origin. In the yolk-riddled void, these photon-bodies float, flashing red and blue, containing within them all possible redness and blueness, joining together like spinning gears, and at each notch exploding into a third (or fifth, or eleventh,) mirror-self, gashing the darkness in its birth pangs —a wash of pure, white light.

An Eight-Headed Problem

If every novel has a seed, this one lay in a confluence of myth and history and my traveling in Japan—that Susano-no-Mikoto, the Shinto god of storm and wind, completed his major myth cycle, destroying an eight-headed dragon, in the city of Hiroshima.

These things seemed to go together to me in some fundamental way. Huge ribbons of history pinned in this one place. And yet, at the same time, I had such terrible sympathy for Yamato-no-Orochi, the dragon in question. He or she or it spent most of their time roving the countryside and eating maidens, a common hobby for dragons in all cultures. Yet it is summarily executed, by Susano, who is no one’s idea of a hero and is not meant to be seen as one. Instead, he is a trickster, and I found it hard to exult in his victory.

This is probably the most textually experimental and angriest of my work. Its feminism is not only one of giving the maidens names and hopes and dreams, of speaking for the monster, but of rage at the constant helplessness of simply being female in a world of hyper-idolized masculinity, of being traded, a trophy for one god or a meal for another. There is a small comfort in community, of women similarly devoured, similarly in the dark, turning the identity of the monster into their own identity. You are what you eat, you become what you destroy. Having often been treated as a problem to be solved rather than a person in my familial and romantic life, well, I felt I had something to say about all that.

I have always been fascinated by the monster and the maiden—they are my yin and yang, constants in mythology and folklore, constants in life, though in life the innocence, if there is any to be had, is not always all on one side or the other. Japanese art is full of examinations of young girls and monsters, and though in American geek circles this is often played as a joke, I felt there was something deeper there. I wanted to write the book of the monster and the maiden, and in connecting that to Hiroshima and the monstrous acts there, it came to encompass the entirety of the Shinto creation myth, which begins with an act of terrible, brutal denial of feminine agency, even existence, and bounces through another and another—not terribly different from Western creation myths, really.

I should mention that in the original myth cycle, Yamato-no-Orochi is not the leech-child born of Izanami and Izanagi’s first meeting. No further mention is made of the child in any text I could find. I struggled for a long time over this change in the original story—it seemed to me to fit, like a puzzle piece, but I am not a Japanese woman and I did not want to appropriate or disrespect a culture I had come to call, at least in some uneasy part, home. In the end, however, I realized that I would change a piece of Greek or Roman or Celtic myth, if it opened up a new window into the story. I felt that in