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Pop-Feminist NarrativesThe Female Subject under Neoliberalism in North America, Britain, and Germany$
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Emily Spiers

Print publication date: 2018

Print ISBN-13: 9780198820871

Published to Oxford Scholarship Online: May 2018

DOI: 10.1093/oso/9780198820871.001.0001

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British Pop-Feminism on the Literary Marketplace

British Pop-Feminism on the Literary Marketplace

Chapter:
(p.135) 4 British Pop-Feminism on the Literary Marketplace
Source:
Pop-Feminist Narratives
Author(s):

Emily Spiers

Publisher:
Oxford University Press
DOI:10.1093/oso/9780198820871.003.0005

This chapter investigates post-chick-lit debates concerning the ‘democratization’ of fiction which collide with claims that the UK’s publishing industry inclines increasingly towards simplifying and sexualizing literary fiction written by women. Long-standing debates within feminist scholarship concerning the practices of reading first-person narratives written by women become compounded by the contemporary frameworks of market and genre within which those narratives are situated. Spiers examines three examples of pop-literary fiction by British writers Scarlett Thomas, Helen Walsh, and Gwendoline Riley, reading these against the corpus of British pop-feminist non-fiction and life narrative written by journalists Polly Vernon, Caitlin Moran, Ellie Levenson, and Hadley Freeman, and academics Catherine Redfern and Kristin Aune.

Keywords:   Erotic memoir, sexual transgression, literary markets, gender bias, BDSM, academic feminism

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