56 pages • 1 hour read
The symbol of the triangle often appears to illustrate the relationship dynamic among the three main characters of Zetian, Yizhi, and Shimin. Initially, the triangle is a red herring for the love triangle trope of young adult fiction. When Sima Yi accuses Zetian of cheating on Shimin with Yizhi, Zetian replies that “a triangle is the strongest shape” (200). The typical structure of the young adult love triangle implies at first that Zetian will continue to pursue individual relationships with both Yizhi and Shimin independently of one another, and instead, Zhao turns this expectation on its head by transforming the often problematic trope of the love triangle into a healthy yet unconventional polyamorous relationship that supports and sustains all three characters throughout their many challenges.
The symbolism of the triangle is further solidified when Yizhi helps a weakened Shimin and Zetian pilot the Vermillion Bird in Chapter 28, the title of which, quite appropriately, is “The Strongest Shape.” In this scene, Yizhi’s strong Wood and Earth qi help balance out the Fire qi of Shimin and the Metal qi of Zetian, allowing their elements to interact without self-destructing. The battlefield relationship among the three reflects their personal relationship; Yizhi balances out the other two and his intervention allows Zetian and Shimin to love one another fully. Thus, the real nature of the triangle as a symbol for polyamory (instead of a dysfunctional love triangle in which participants compete for affection and fulfillment) is revealed when Shimin and Yizhi share their kiss before the final battle. The triangle is a shape that needs all three of its points in order to hold itself up; without the polyamorous dynamic symbolized by the triangle, none of the three would have been brought together in such a loving relationship.
Butterflies, chrysalises, and the entire process of metamorphosis figure heavily into Iron Widow. The intersex butterfly presented in the first chapter begins Zetian’s ruminations on gender and her place in society, a topic that is explored more deeply when it is learned that a Balanced Match of pilots can transform their Chrysalis into an Ascended Form, causing their minds in the yin-yang realm to burst apart into a swarm of butterflies. Butterflies and chrysalises, then, are powerful symbols that emphasize the artificial social and cultural boundaries that separate men and women.
Iron Widow is a story that tackles issues of gender bio-essentialism. (Gender bio-essentialism is the belief that men and women are innately unique and biologically different creatures with distinctly different brains, physiology, etc., rather than being defined primarily by sociocultural roles.) Gender bio-essentialism is not the accepted view among scholars who research human physiology and culture. Instead, gender is understood to be a complex sociocultural construction unique to every human culture. Huaxia’s embrace of bio-essentialism is therefore an active part of its dystopian worldview. The intersex butterfly in Chapter 1 thus serves as a reminder that nature, biology, and biological sex are infinitely complex characteristics, unlike the simplistic fashion in which Huaxian society treats these factors. Accordingly, the inability to classify the ying-yang butterfly as male or female causes Zetian to wonder about the Chrysalis pilot arrangement, which ultimately leads to her later realization that the arrangement is wholly artificial and that the long-held mores of Huaxian society are an outright lie.
The artificial nature of the bio-essentialism of gender in Huaxia is further foreshadowed by the Ascended Forms of the Chrysalises. When each Chrysalis ascends, the pilots’ minds join to form one homogenous whole, both male and female like the butterfly. It is only when this artificial barrier between genders breaks down that the pilots can realize their true potential. The imagery of metamorphosis implied by both the butterflies and the Chrysalises themselves suggests that ideas about biology and gender are far more complex than the neat and tidy way the pilot program presents biology and gender.
After killing Yang Guang, Zetian is given the title of Iron Widow while some speculate that she may be a supernatural entity that eats men. Some men believe she is a nine-tailed fox spirit, a malevolent spirit that takes the form of a woman to eat men. This rumor about Zetian is useful when Gao Qiu capitalizes on it to market her to the public. The nine-tailed fox spirit symbolizes the inability for a patriarchal culture to accept the real achievements of women. When the men suggest that Zetian is a supernatural creature and not an everyday woman, they deny the possibility that a flesh-and-blood woman could overpower and kill a man. The idea that Zetian is supernatural allows them to continue believing that men are inherently stronger than women.
However, this supernatural excuse for Zetian’s actions eventually backfires on the Huaxian military. The idea that Zetian is a supernatural creature simultaneously negates a woman’s strength and makes her an object of intrigue for the public. The public’s interest in the fox spirit symbolizes Huaxia’s need for spectacle while disavowing the real strength of a woman pilot, and the fox spirit rumor is simultaneously an attempt to discredit Zetian and turn her into a public spectacle for consumption instead of a living, breathing person.
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