The description of a female trickster, however, does cross over into certain masculine terrain. Their looks and demeanor may in part resemble a male trickster, but differs significantly in terms of their purposes. Tatar uses Lisbeth Salander, the girl with the dragon tattoo, to show the different possible forms in which female tricksters come. She describes her ability as “an ironic double of the classic male trickster, masquerading, performing, and imitating in ways that offer both serious reenactment and gender-bending parody” (464). Salander’s qualities and features most seem that of a male figure and trickster as she goes against anything ladylike. In contrast, Juleidah is portrayed as “tall as a cypress, with a face like a rose and the
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As explained by Tatar, a trickster “navigates his way… to ‘happily ever after’ by using wits and courage rather than guns and steel” (460). She recognizes the trickster-like characteristics the Queen in Snow White holds as she is described by Gilbert and Gubar as “a plotter, a plot-maker, a schemer, a witch, an artist, and impersonator, a woman of almost infinite creative energy, witty, wily, and self-absorbed as all artists traditionally are” (389). One may believe this constitutes her to be a female trickster, but there her villainesque qualities take over. Gilbert and Gubar illustrate the Queen as a “monster-woman” (387) and even labels her as a “Wicked Stepmother” (388) in both their title and the suggested title of Snow White. She in no way encompasses the ideals that make up what it means to be a female trickster, for she embodies a monster-like vendetta that contains malicious intent. She, unsuccessfully, executes the murder of Snow White in a clever manner using the “female arts of cosmetology and cookery” (391). This use of female weaponry allows for a liberation of the male power; however, establishes a vengeful mindset. In “The Princess in the Leather Suit,” Juleidah is interpreted in almost the same manner and could very well be viewed in that same light of a villain. Under her disguise, she stumbles into the harem of a sultan’s palace. When seen, Juleidah’s “bright
As explained by Tatar, a trickster “navigates his way… to ‘happily ever after’ by using wits and courage rather than guns and steel” (460). She recognizes the trickster-like characteristics the Queen in Snow White holds as she is described by Gilbert and Gubar as “a plotter, a plot-maker, a schemer, a witch, an artist, and impersonator, a woman of almost infinite creative energy, witty, wily, and self-absorbed as all artists traditionally are” (389). One may believe this constitutes her to be a female trickster, but there her villainesque qualities take over. Gilbert and Gubar illustrate the Queen as a “monster-woman” (387) and even labels her as a “Wicked Stepmother” (388) in both their title and the suggested title of Snow White. She in no way encompasses the ideals that make up what it means to be a female trickster, for she embodies a monster-like vendetta that contains malicious intent. She, unsuccessfully, executes the murder of Snow White in a clever manner using the “female arts of cosmetology and cookery” (391). This use of female weaponry allows for a liberation of the male power; however, establishes a vengeful mindset. In “The Princess in the Leather Suit,” Juleidah is interpreted in almost the same manner and could very well be viewed in that same light of a villain. Under her disguise, she stumbles into the harem of a sultan’s palace. When seen, Juleidah’s “bright