From the bestselling Bridget Jones's Diary that started the trend to the television sensation Sex and the City that captured it on screen, qchick litq has become a major pop culture phenomenon. Banking on female audiences' identification with single, urban characters who struggle with the same life challenges, publishers have earned millions and even created separate imprints dedicated to the genre. Not surprisingly, some highbrow critics have dismissed chick lit as trashy fiction, but fans have argued that it is as empowering as it is entertaining. This is the first volume of its kind to examine the chick lit phenomenon from a variety of angles, accounting for both its popularity and the intense reactions-positive and negative-it has provoked. The contributors explore the characteristics that cause readers to attach the moniker qchickq to a particular book and what, if anything, distinguishes the category of chick lit from the works of Jane Austen on one end and Harlequin romance novels on the other. They critique the genre from a range of critical perspectives, considering its conflicted relationship with feminism and postfeminism, heterosexual romance, body image, and consumerism. The fourteen original essays gathered here also explore such trends and subgenres as qSistah Lit, q qMommy Lit, q and qChick Lit Jr., q as well as regional variations. As the first book to consider the genre seriously, Chick Lit offers real insight into a new generation of women's fiction.And if hea#39;d looked even harder, he woulda#39;ve seen that in that 1996 New Yorker essay, Wolcott was referencing an even ... adulteress in The Scarlet Letter, written by a man) and Abigail Williams (adulteress in The Crucible, written by a man).
|Author||:||Suzanne Ferriss, Mallory Young|
|Publisher||:||Routledge - 2013-03-07|