Chimamanda Ngozi Adichie is almost as famous for being sampled on Beyoncé’s latest album as she is for her novel Americanah. With that in mind, she discussed her writing process, hair blogs, and what feminism means to her in Elle. “It means that I am present in the world, and that I realize that there is a problem with the way we’ve constructed gender,” she said. For more Adichie, read her 2013 Year in Reading post.
Koa Beck’s father gave her a copy of Erica Jong’s Fear of Flying when she was 15 years old. Depending on your persuasion, this was either a brilliant idea or an awful parental blunder. Regardless, Beck says the book (aided by The Bell Jar and Diary of a Mad Housewife) helped her understand that “the game was rigged, that everyone was lying, [and] that there was so much more to being a woman than what society said there was.”
To the debate over whether or not male writers have trouble creating realistic female characters, we can add the opinion of Ester Bloom, who argues at The Hairpin that most male writers mold their female characters according to four archetypes: the virgin, the whore, the mother and the bitch.
"Strong female characters now reign aplenty in literature without their necessary ingénue escorts, slowly eroding the role of that stock accompanying character. It’s not that these strong female characters newly exist, or that they suddenly gained mass appeal, but rather that they are surviving on their own." On the death of the ingénue.
Urvashi Butalia and Ritu Menon founded India’s first feminist publishing house, Kali For Women, in 1984. In 2003, they parted ways to start their own projects: Menon began Women Unlimited; Butalia founded Zubaan Books. Now, in a compressed and edited interview for Mint, Butalia discusses some of the challenges she faces in India’s publishing ecosystem, and also notes, “in my 40 years in publishing, things have never felt as exciting as they are now. It truly seems there are infinite possibilities.”
But Rukeyser wrote enough to leave her artistic legacy mixed. While there is certainly no native opposition between poetry and politics, Rukeyser’s passion for radical social causes left a good part of her poetry feeling stilted and forced. Especially as the Cold War unfolded, Rukeyser’s worker-centered social protest cast a shadow over her career. She was monitored by the federal government until the 1970s. But her ecstatic love for the fundamental good in human beings, and her faith in the making of a better world, breathes through her work. Her humor gives it buoyancy. “O for God’s sake,” she wrote in a poem called “Islands,” “they are connected underneath…”
Jo Freeman, a feminist writer and activist who worked with Firestone from the beginning, said at the memorial, ‘When I think back on Shulie’s contribution to the movement, I think of her as a shooting star. She flashed brightly across the midnight sky, and then she disappeared.’
Sandberg does not mention pleasure. Sandberg assumes instead that the feminist question is simply, how can I be a more successful worker?…Sandberg has penned not so much a new Feminine Mystique as an updated Protestant Ethic and the Spirit of Capitalism.