Publisher Description

The author offers a scholarly dissection of "chick lit" from a post-feminist perspective. She analyzes the novel Bridget Jones' Diary and the HBO series Sex and the City while making parallels back to writings of Jane Austen and the Victorian novel in general. She looks at what these works say about women in society and whether they are just an escape or a serious reflection of women's concerns.

From the bestselling Bridget Jones's Diary that started the trend to the television sensation Sex and the City that captured it on screen, "chick lit" 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 "chick" 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 "Sistah Lit," "Mommy Lit," and "Chick Lit Jr.," 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.

A funny, frank and bittersweet look at sisters, marriage and moving on, from the New York Times bestselling author of the Blue Heron series Letting go of her ex-husband is harder than wedding-dress designer Jenny Tate expected…especially since his new wife wants to be Jenny's new best friend. Needing closure, Jenny trades the Manhattan skyline for her hometown up the Hudson, where she'll start her own business and bask in her sister Rachel's picture-perfect family life…and maybe even find a little romance of her own with Leo, her downstairs neighbor, who's utterly irresistible and annoyingly distant at the same time. Rachel's idyllic marriage, however, is imploding after she discovers what looks like her husband's infidelity. She always thought she'd walk away in this situation but now she's wavering, much to Jenny's surprise. Rachel points to their parents' perfect marriage as a shining example of patience and forgiveness; but to protect her sister, Jenny may have to tarnish that memory—and their relationship—and reveal a family secret she's been keeping since childhood. Both Rachel and Jenny will have to come to terms with the past and the present, and find a way to help each other get what they want most of all.

Book 2 in the Agatha Award-Winning Series Cold-blooded murder is, like, totally un-cool As the wildly successful darling of the publishing industry, chick lit mystery writer Kimberlee Kalder is the guest of honor at an exclusive writers' conference at Dalmorton Castle in Scotland. But jealousy and resentment are soon replaced with shock when Kimberlee is found dead at the bottom of the castle's bottle dungeon. Who didn't want to see prima donna Kimberlee brutally extinguished like one of her ill-fated characters? It's up to Detective Chief Inspector St. Just to track down the true killer in a castle full of cagey mystery connoisseurs who live and breathe malicious murder and artful alibis... Praise: Named a Best Book of 2009 by Deadly Pleasures "[In] her superior second cozy, Malliet's satirical take on the mystery scene is spot-on."—Publishers Weekly (starred review) "Malliet excels at stylish writing very reminiscent of the golden age of British mysteries. A real find for old-school mystery fans."—Booklist (starred review) "An absolutely delicious skewering of the world of mystery publishing and its none-too-savory denizens, Death and the Lit Chick is even wittier and more skillfully constructed than her Agatha Award-winning Death of a Cozy Writer."—Denver Post "Delicious. Malliet is laugh-out-loud funny in describing the cadre of crime writers encountered by the sometimes-flustered St. Just."—Mystery Scene "An entertaining diversion"—Kirkus Reviews "A good choice for readers who enjoy intelligent cozies and traditional mysteries."—Library Journal "Readers who enjoy all things British, as well as a good whodunit, will find these novels just the ticket."—Free Lance-Star "The writing is A+—smooth, clever (in the good sense) and a pleasure to read."—Cozy Library "Death and the Lit Chick shows why classics never go out of style...Malliet belongs on your bookshelf."—Reviewing the Evidence "Malliet's old-fashioned style is reminiscent of the traditional whodunits of the past... but with a distinctly humorous flair. The book is a clever mystery as well as a witty satire." —Vickie Britton at Suite 101

Chick lit: A genre of fiction that often recycles the following plot: Girl in big city desperately searches for Mr. Right in between dieting and shopping for shoes. Girl gets dumped (sometimes repeatedly). Girl finds Prince Charming. This Is Not Chick Lit is a celebration of America’s most dynamic literary voices, as well as a much needed reminder that, for every stock protagonist with a designer handbag and three boyfriends, there is a woman writer pushing the envelope of literary fiction with imagination, humor, and depth. The original short stories in this collection touch on some of the same themes as chick lit–the search for love and identity–but they do so with extraordinary power, creativity, and range; they are also political, provocative, and, at turns, utterly surprising. Featuring marquee names as well as burgeoning talents, This Is Not Chick Lit will nourish your heart, and your mind. Including these original stories: “The Thing Around Your Neck” by Chimamanda Ngozi Adichie “Two Days” by Aimee Bender “An Open Letter to Doctor X” by Francine Prose “Gabe” by Holiday Reinhorn “Documents of Passion Love” by Carolyn Ferrell “Volunteers Are Shining Stars” by Curtis Sittenfeld “Selling the General” by Jennifer Egan “The Seventy-two-Ounce Steak Challenge” by Dika Lam “Love Machine” by Samantha Hunt “Ava Bean” by Jennifer S. Davis “Embrace” by Roxana Robinson “The Epiphany Branch” by Mary Gordon “Joan, Jeanne, La Pucelle, Maid of Orléans” by Judy Budnitz “Gabriella, My Heart” by Cristina Henríquez “The Red Coat” by Caitlin Macy “The Matthew Effect” by Binnie Kirshenbaum “The Recipe” by Lynne Tillman “Meaning of Ends” by Martha Witt Praise for This Is Not Chick Lit “This Is Not Chick Lit is important not only for its content, but for its title. I’ll know we’re getting somewhere when equally talented male writers feel they have to separate themselves from the endless stream of fiction glorifying war, hunting and sports by naming an anthology This Is Not a Guy Thing.”—Gloria Steinem “These voices, diverse and almost eerily resonant, offer us a refreshing breath of womanhood-untamed, ungroomed, and unglossed.”—Elle

Cosmopolitan Culture and Consumerism in Chick Lit focuses on the literary phenomenon popularly known as chick lit, and the way in which this genre interfaces with magazines, self-help books, romantic comedies, and domestic-advice publications. This recent trend in women’s popular fiction, which began in 1996 with the publication of British author Helen Fielding’s novel Bridget Jones’s Diary, uses first person narration to chronicle the romantic tribulations of its young, single, white, heterosexual, urban heroines. Critics of the genre have failed to fully appreciate chick lit’s complicated representations of women as both readers and consumers. In this study, Smith argues that chick lit questions the "consume and achieve promise" offered by advice manuals marketed toward women, subverting the consumer industry to which it is so closely linked and challenging cultural expectations of women as consumers, readers, and writers, and of popular fiction itself.