Confessions of a Shopaholic (Movie Tie-in Edition)

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What We Call What Women Write

Last week, when it was announced that Jennifer Egan’s A Visit From the Goon Squad was awarded the Pulitzer Prize for fiction, I’m guessing I felt something like a football fan does when his team wins the Superbowl. I loved the book, pushing it hard on my bookish friends and even harder on the unbookish ones, certain that this was one of the most broadly appealing works of fiction to have come out in a long time. After the announcement, I wanted nothing more than to high-five all my Egan-loving friends posting the link on Facebook. It was heartening to see that the sentiment seemed widespread and magnanimous. Surely the celebration had to do with the brilliance of the book, but also the fact that a woman won in a year of several lively discussions regarding gender inequality in publishing (see the VIDA report on publication statistics and the backlash to Jonathan Franzen in general.) Alas, the feeling of deserved recognition was short-lived. In a Wall Street Journal interview that Egan gave shortly after receiving the news, her advice to young writers ruffled some feathers: My focus is less on the need for women to trumpet their own achievements than to shoot high and achieve a lot. What I want to see is young, ambitious writers. And there are tons of them. Look at The Tiger’s Wife. There was that scandal with the Harvard student who was found to have plagiarized. But she had plagiarized very derivative, banal stuff. This is your big first move? These are your models?...My advice for young female writers would be to shoot high and not cower. The Harvard student Egan is referring to is Kaavya Viswanathan, whose novel How Opal Mehta Got Kissed, Got Wild, and Got a Life was much lauded until it was discovered that large sections had been lifted from other books; among the plagiarized authors were Meg Cabot (The Princess Diaries), Sophie Kinsella (Confessions of a Shopaholic) and Megan McCafferty (the Jessica Darling series), all of whom are best-selling authors of the “chick-lit” genre. Chief among the offended was the oft-outspoken author Jennifer Weiner (In Her Shoes), who was also a prominent voice of the aforementioned Franzen backlash. A tweet from Weiner shortly after the WSJ piece ran: “And there goes my chance to be happy that a lady won the big prize. Thanks, Jenny Egan. You're a model of graciousness.” Following Weiner’s lead, devout fans of chick-lit sounded off; over at The Frisky, in an essay titled “In Defense of Chick Lit,” Jamie Beckman, who opens her essay declaring that Egan was “one of her favorite authors of all time,” expresses doubt that she’ll ever recommend Egan’s work to a friend again. It’s not hard to see how Egan’s statements offended—“very derivative and banal” isn’t exactly timid diction, and it’s a real downer to have someone you respect make you feel like you’ve got bad taste. But before anyone accuses anyone of “step[ping] on other women as [she] makes [her] way to the podium,” as Beckman puts it, we should consider a couple of things. First: the offended parties lay claim to a genre ubiquitously referred to as “chick-lit”, a term used to describe fiction that relays, as Beckman puts it, “thoughtful, funny, relatable voices for the everywoman who’s looking for her personal pieces of life’s pie, including the career, the apartment, and the guy.” I don’t aim to scrutinize the content of the genre so much as the fact that the chick lit demographic has fully embraced the term. Ladies, it’s 2011. Who refers to women as “chicks” aside from Ed Hardy-wearing man-children? Uninspired as it may be, detractors calling the work “fluffy” can’t really be blamed—it’s built into the name, for god's sake. It’s difficult to move forward in an argument about the sexist climate in publishing when a group that is supposedly trying to push for more equality has accepted and even defended a derogatory label. Granted, the term was probably coined by some marketing department somewhere, but authors of the genre stand by it unflinchingly (see Michele Gorman’s article in The Guardian). It’s no secret that the chick lit authors are outselling their literary fiction counterparts by far. What’s alarming is that the tremendous success of the genre is largely because it’s marketed to women who identify themselves “chicks.” Perhaps the bigger issue at hand, though, is the severity of the backlash to Egan’s comments and the reasoning behind it. Bloggers at the The Signature Thing declared it “majorly ugly girl-on-girl crime,” and numerous commenters declared a boycott of everything Egan from this point forward. Another blogger at NerdGirlTalking was utterly perplexed: “Jennifer Egan, have you even MET Meg?.. Because how could you meet Meg and then call her work banal or derivative? I don’t care if you think those things, Meg is so nice that saying those things are almost like kicking a puppy.” These former Egan fans are uniting under the notion that in addition to being a meanie, Egan is setting feminists back 50 years. How could she? In the male hegemony of publishing, us gals are supposed to stick together. Which is all well and good, in theory. But to suggest that a woman writer should not be critical of other women writers is counter to progress. It reminds me a little bit of the 2008 election. There was a certain kind of Hillary supporter that believed all women should be in support of our potential first woman president mostly on the basis that this could be our first woman president! Which is all well and good, in theory. But to express any sort of dissent guaranteed you a look of pity mingled with disgust: Poor thing. She must secretly hate her vagina. This kind of mindless unity is counterintuitive. What kind of feminist movement condones a suppression of opinion on the basis that we should all be nice and stick together, because we’re girls? What Egan said wasn’t nice. It was honest. It reflected her opinion of a certain type of fiction. Publishing should strive to be a meritocracy (though whether it succeeds is a whole other issue,) and Egan’s comments are an acknowledgment of that. On the other hand, in the chick lit realm, amid the outrage and demand for more respect, there is, in fact cowering: observe Weiner selling herself short (and acknowledging a literary hierarchy) in an interview she gave to the Huffington Post: “Do I think I should be getting all of the attention that Jonathan "Genius" Franzen gets? Nope. Would I like to be taken at least as seriously as a Jonathan Tropper or a Nick Hornby? Absolutely.” In 1971, Gore Vidal compared Norman Mailer’s The Prisoner of Sex to “three days of menstrual flow.” Mailer then proceeded to head-butt Vidal before they appeared on the Dick Cavett Show, and six years later at a party, he threw his drink in Vidal’s face and started a fistfight. While I’m not suggesting that this is admirable behavior (though it is pretty funny,) it does nothing for leveling the playing field if every time a woman author remarks on the quality of a work of fiction, hysteria ensues, she’s thought of as a catty bitch, and there’s a concerted effort to rally the troops against her. In a year when a male author (Franzen), appeared on the cover of Time for the first time since the last male author (Stephen King,) appeared on the cover ten years ago, the significant success of Goon Squad shouldn’t be drowned out by bitterness because Egan encouraged young writers to aim higher than a genre whose very name degrades its creators. What we should be concerned about is that glaring inequities exist in publishing. So, ladies, one more time, in case you didn’t hear Egan over Weiner’s whining: shoot high and don’t cower. We can’t very well get much done with the kid gloves on.
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