Perceiving and framing femme anger (or that of other marginalized groups) as less acceptable than the same affect in masculine people, is an undeniable fact of heteropatriarchal cultures. Social norms about and scripts of anger are therefore often explored and theorized within the pop-culture narratives of these cultures. This paper traces the narrative functions of angry affects in two novels and how they mythologize their femme non-human monstrous protagonists: Gorgoneion, the sentient decapitated head of Medusa, in Stone Blind (2022) by Natalie Haynes and the titular The Faceless Old Woman Who Secretly Lives in Your Home (2020) created by Joseph Fink and Jeffrey Cranor. While the novels’ contexts are vastly different—on the one hand a retelling of the Perseus mythos from the perspective of his victim and murder weapon, on the other hand an origin-story for a character within the narrative universe of the fiction podcast Welcome to Night Vale (2012–)—, their narrative approach to the femme monstrous protagonists is strikingly similar. Firstly, they are deeply embedded in a narrative canon, heightening the emotional involvement of the implied reader through directly addressing them and invoking their prior knowledges of the character. Furthermore, they use specific genre conventions from supernatural gothic and adventure stories as well as melodramatic modality to evoke sentimental nostalgia and contrast this with subversive narrative arcs of the protagonists. When they are denied a hegemonial narrative catharsis, their continued anger leads to a disruptive paradigm change in their larger ‘narrative universes’. Both characters tell a story of transformation of their gendered self-concept through anger that is reflected as righteous but unfulfilled. The expression of this anger is embodied in their non-human monstrosity, which imbues Gorgoneion and the faceless Old Woman with textual and meta-textual agency, leading to them eventually both defying death and time. Nonetheless, within the structural violence of heteropatriarchal cultures that agency can be tragically and irrevocably fragile, even in this most powerful undead eternal form, when confronted with deep-seated privileges of their opponents, making the narratives compelling while nihilistic.