One of the points Tim Hanley makes in his Batgirl and Beyond is that in the Silver Age Batwoman, Batgirl I (Betty Kane) and Batgirl II (Barbara Gordon whom you’re probably all familiar with) were all shown to be competent, but still constantly sidelined. Reading I Died Yesterday this month has me thinking how I’ve often seen that trope, and it definitely applies to Doc’s cousin Patricia Savage.
When we first meet Pat in Brand of the Werewolf, she’s 18 years old, just lost her father and is determined to figure out the mystery behind his death. She can shoot, fight and track and has the same taste for adventure her cousin does. When she shows up in New York in Fear Cay, she tells Doc that after the previous adventure, life in the Canadian wilderness is just too dull. When the bad guys target a young woman, Pat trades places and lets them kidnap her instead. She admits later it was more excitement than she’d anticipated, but she’s up for the gig. By the following book, Death in Silver, she’s opened Patricia, Incorporated, her New York beauty salon/health spa which charges skyhigh prices (I Died Yesterday says Pat’s ruthless about turning away potential clients, thereby reassuring people she’s exclusive enough to be worth paying through the nose). And whenever she can, cutting herself in on Doc’s adventures.
It’s understandable Doc’s never very enthused about this. He’s in his thirties, Pat’s barely an adult; as he says in The Feathered Octopus, he knows she could hold her own with his team but he doesn’t want his last living relative risking her neck. It doesn’t change the fact that she is sidelined even in the stories she appears in; I Died Yesterday is one of the few that really shows her capable, and even there Doc’s conducting himself like a jerk to discourage her. It’s the kind of trick Ricky Ricardo might play on Lucy, if they’d been PIs. And it’s not unique; while one WW II book mentioned Doc recruiting Pat because his regular resources are stretched so thin, Violent Night has him using US spies to scare her off the case (it doesn’t work). Given he’s supposed to be hunting down Hitler, it’s a remarkable waste of resources. Pat almost never gets to shine, though both Millennium’s and Dynamite’s Doc Savage comics made it a point to give her more action.
Pat’s hardly unique. I’ve seen lots of books and movies where they establish the female lead is competent and capable, but then treat her as just the love interest. Or assume that no matter how competent or professional she is, all she really wants is to land a man; once she does that, forget her career! Or simply assume she’s just not good enough. I read a sequel in the 1970s to Robert E. Howard’s stories of mercenary Dark Agnes and it ends with this tough, capable warrior woman going all weak at the knees — good thing there’s a man around to hold her close and tell her everything’s okay (it makes me appreciate why Sigourney Weaver said she was so glad they never put a scene like that into Aliens). It’s an equivalent of sorts to the hot mess approach to writing women: show that no matter how tough, capable or adventurous she is, she’s not really going to be the hero Because our culture tells us that’s a a man’s job!
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