{"id":121304,"date":"2018-02-07T09:00:36","date_gmt":"2018-02-07T14:00:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=121304"},"modified":"2018-02-08T12:10:36","modified_gmt":"2018-02-08T17:10:36","slug":"women-writers-youve-overlooking","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/02\/07\/women-writers-youve-overlooking\/","title":{"rendered":"The Women Writers You\u2019ve Been Overlooking"},"content":{"rendered":"
<\/a>

The Young Adult section at Parnassus Books<\/p><\/div>\n

In December, it seemed like all anyone did was go to the movies and cry. My friends sobbed over Call Me by Your Name<\/em>, with its dizzyingly lush depictions of queer desire; over the women leading Star Wars\u2019<\/em> resistance; and over a girl who called herself Lady Bird. At most of these, I cried, too, but the outpouring of feeling around Lady Bird<\/em> made me feel sad, and a little isolated.<\/p>\n

Lady Bird<\/em> is Greta Gerwig\u2019s solo directorial debut; it follows the titular Lady (n\u00e9e Christine)\u2019s struggles over the course of her senior year of high school. In the weeks after its release, my Twitter timeline overflowed with women who related<\/a> to its particulars: who had grown up in stifling suburbs or spent their teen years singing along to cast recordings in overstuffed minivans. We had all, it seemed, written boys\u2019 names onto our notebooks and sneaker rubber and wrists. We had all fought bitterly, epically, endlessly, with our moms.<\/p>\n

Every time I saw a woman opine that Lady Bird<\/em> was the future of film, an unprecedented and astonishing event, I wished we were somewhere other than on Twitter, where everything sounds like shouting. I wanted to be able to say, gently,\u00a0There is actually a very rich tradition of this kind of writing available to you. You just have to know that you want it. And then you have to know where to find it.<\/p>\n

Where to find it, of course, is on the young-adult shelves of every bookstore in America, which are piled high and bright with novels written by people\u2014many of us women\u2014who care deeply about how and why we tell the stories of teenage girlhood. We\u2019ve been trying to do it carefully and beautifully and well for the space of our careers.<\/p>\n

I liked Lady Bird<\/em>, but I didn\u2019t love it\u2014but then, I didn\u2019t feel that I had to. I live surrounded by a surfeit of stories like that one. Lady Bird<\/em>\u00a0lacked the particular chemistry that makes books like Brenna Yovanoff\u2019s Places No One Knows<\/em> or my friend Maurene Goo\u2019s forthcoming The Way You Make Me Feel<\/em> so shockingly, achingly familiar: that electric recognition of yourself in someone else\u2019s art. The feeling that without even knowing it, the artist has made space for you. They have called you home.<\/p>\n

In Goo\u2019s case, that sense of home was literal: her evocations of a Los Angeles girlhood made me ache with recognition of my city and my self.<\/p>\n

My relationship to Yovanoff\u2019s heroine, Waverly, was a little more interior. Waverly seems at first like a straightforward, straight A, good girl, but Waverly is obsessed with the idea that everyone else<\/em> is good, and that it\u2019s only her who has to work so hard to pretend to be.<\/p>\n

Waverly reminded me how difficult it is to be bright and intense and aggressive and a little manipulative, sometimes, when you are also trying to be a girl. When you don\u2019t yet understand that a girl can be\u2014is<\/em>\u2014only exactly what you are. It was books like those that made me want to write YA myself. Long before my own two YA novels were published, I haunted the teen-fiction aisles of bookstores. I\u2019d been too proud for this kind of fiction when I was a teenager; now, those novels help me see, understand, and reframe the myths I held about myself\u2014the first one being that a teenage girl was a dumb, embarrassing thing to be. They make me feel cared for, because they make me, in all of my unpleasant particulars, feel seen.<\/p>\n

I\u2019ve heard it suggested that looking for yourself in fiction is an unsophisticated way to read. But it can be emotionally authentic\u2014who doesn\u2019t want to see herself reflected in her culture?\u2014 and more importantly, it can be fun. The true worth of reading for pleasure is often undervalued, especially among women. As Jaime Green recently argued in a piece about romance novels<\/a> for Buzzfeed, \u201cthe idea of women reading books that are escapist delights instead of \u2018bettering\u2019 themselves via the male-adjudicated canon or, honestly, doing housework or tending to their kids [is subversive]. Romance novels are political\u00a0because<\/em>\u00a0of<\/em>, not despite, the fact that they are usually really fucking fun.\u201d I\u2019d argue that the same is true of YA.<\/p>\n

And like romance novels, YA has a significant marketing problem: the category has been cast as silly\u00a0and shallow in myriad bad-faith op-eds. And yes, the biggest blockbusters of the genre won\u2019t resonate with a reader who\u2019s mostly drawn to literary fiction. But then, no one dismisses literary fiction on the basis of what\u2019s sitting atop the New York Times<\/em>\u2019 best-seller list. It\u2019s understood that what\u2019s broadly popular doesn\u2019t represent the depth of what\u2019s available.<\/p>\n

YA is not a reading level, and it\u2019s not a genre, either. It\u2019s a marketing category, and all kinds of things end up shepherded onto its shelves. Robin Wasserman wrote young-adult novels before her adult debut, Girls on Fire<\/em>; Naomi Novik\u2019s Uprooted<\/em> is double-shelved in YA and among fantasy novels for adults. I know the arbitrary nature of these categories firsthand: when I was looking for an agent, shopping the book that would become A Song to Take the World Apart<\/em> around, I found readers frustratingly and precisely divided. Agents who represented literary fiction felt certain it was YA; young-adult agents wondered whether I had considered trying to sell it as literary fiction.<\/p>\n

Not all YA will work for every reader, but to dismiss the entire category may be to dismiss the very book you didn\u2019t know you needed. After all, YA may be aimed at teens in theory, but it\u2019s almost always being written by adults with an intimate experience of teenage girlhoods. We are speaking, on some level, to ourselves, and to our\u00a0past selves. Just like Gerwig with Lady Bird<\/em>.<\/p>\n

If you were interested in Lady Bird<\/em>, I promise you, you are interested in YA. You might be interested in the magical realism of Samantha Mabry\u2019s National Book Award\u2013nominated All the Wind in the World<\/em>, or the twisted fairy tales of Melissa Albert\u2019s The Hazel Wood<\/em>. Katie Coyle\u2019s Vivian Apple <\/em>books are tender about friendship and sharp about politics. Kate Hart\u2019s After the Fall<\/em> has a complicated mother figure and a midsize city and a girl who wants more for herself\u2014without more <\/em>necessarily being conflated with expensive private college and life in a big coastal city.<\/p>\n

Lady Bird <\/em>posits that paying real, careful attention to something is closely akin to loving it. In a moment that demands that we expend so much of our focus on things that are painful and difficult, even I could feel the reprieve of it: how wonderful it was to be given the gift of Gerwig\u2019s alert gaze. How unusual to allow a teenage girl, and, in turn, our own teenage selves, to be the center of our attention.<\/p>\n

I am thrilled that Lady Bird<\/em> reminded women how it feels to be seen. I only hope that it will also encourage them to look for more reminders. There are many unexpected, uncool, too-earnest unabashedly female things to pay attention to, and to love as well.<\/p>\n

 <\/p>\n

Zan<\/span> Romanoff<\/a> is a full-time freelance writer and the author of two young adult novels, <\/em>A Song to Take the World Apart and <\/em>Grace and the Fever.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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At most of these, I cried, too, […]<\/p>\n","protected":false},"author":1389,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[32308,32859,32861,21219,32860,7203,32858],"class_list":["post-121304","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-ladybird","tag-naomi-novik","tag-places-no-one-knows","tag-robin-wasserman","tag-the-way-you-make-me-feel","tag-ya","tag-young-adult-fiction"],"acf":[],"yoast_head":"\nThe Women Writers You've Been Overlooking<\/title>\n<meta name=\"description\" content=\"There is a very rich tradition of stories like \u2018Lady Bird.\u2019 You just have to know that you want it. 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