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Chick lit
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Chick lit
"Chick lit" is a term used to describe a type of popular fiction targeted at women. Widely used in the 1990s and 2000s, the term has fallen out of fashion with publishers, with numerous writers and critics rejecting it as inherently sexist. Novels identified as chick lit typically address romantic relationships, female friendships, and workplace struggles in humorous and lighthearted ways. Typical protagonists are urban, heterosexual women in their late twenties and early thirties: the 1990s chick lit heroine represented an evolution of the traditional romantic heroine in her assertiveness, financial independence and enthusiasm for conspicuous consumption.
The format developed through the early 1990s in both the United States and the United Kingdom with books such as Terry McMillan's Waiting to Exhale (1992, US) and Catherine Alliott's The Old Girl Network (1994, UK). Helen Fielding's Bridget Jones's Diary (1996, UK), wildly popular globally, is the "Ur-text" of chick lit, while Candace Bushnell's (US) 1997 novel Sex and the City, adapted to a well-known television program, has huge ongoing cultural influence.
By the late 1990s, chick lit titles regularly topped bestseller lists, and many imprints were created devoted entirely to it. By the mid-2000s, commentators noted that its market was increasingly saturated, and by the early 2010s, publishers had largely abandoned the category. Nonetheless, the term "chick lit" persists as a popular category of fiction for both readers and amateur writers on the internet.
While the concept of "chick lit" has become outdated in developed-world English language literature, the term, and regional derivations of it, continue to be widely used to describe and analyse popular women's literature in other languages and other parts of the world.
In 1992, Los Angeles Times critic Carolyn See was probably the first to spot that a new style of popular women's fiction was emerging. Though she didn't use the term chick lit, in a review of Terry McMillan's Waiting to Exhale, the critic noted that McMillan's book was not "lofty" or "luminous" but was likely to be highly commercially successful. Carolyn See wrote, "McMillan's new work is part of another genre entirely, so new it doesn't really have a name yet. This genre has to do with women, triumph, revenge, comradeship."
Chick lit did not become an established term for a style of novel until the second half of the 1990s. "Chick" is American slang for a young woman, and "lit" is a shortened form of the word "literature." There was probably no single origin of the term: Princeton University students were reported in 1988 to use chick lit as slang for a course on the Female Literary Tradition and, in the UK, Oxford Reference report that the term arose as a "flippant counterpart" to the term "lad lit". The parallel term used for movies, chick flick, enjoyed slightly earlier uptake. In what was probably one of its first major outings, the term chick lit was deployed ironically: Chick Lit: Postfeminist Fiction was a 1995 anthology of 22 short stories written in response to editors Cris Mazza's and Jeffrey DeShell's call for "postfeminist writing." Early use of the term was heavily associated with journalism (both Bridget Jones's Diary and Sex in the City began as newspaper columns) and James Wolcott's 1996 article in The New Yorker, "Hear Me Purr," co-opted the term chick lit to proscribe what he called the trend of "girlishness" evident in the writing of female newspaper columnists at that time.
In the early years, there was some variation on the exact term used: in 2000, the Sydney Morning Herald reported the birth of a "publishing phenomenon" that can be called "chick fiction."
At the peak of the term's popularity, a slew of related sub-genres were proposed with similar names chick lit jr (for young readers), mommy lit, and chick lit in corsets (historical fiction, and a term only found in one academic paper published in the Journal of Popular Romance Studies). The relationship with the term lad lit is more complicated: lad lit arose in the UK separately from, and possibly before, chick lit. Later, the term lad lit was adopted in the US for a male-oriented subgenre of chick lit (see lad lit). Of these parallel terms, mommy lit, and lad lit are the only terms to have enjoyed any significant uptake - and that a tiny fraction of the use of the primary term chick lit.
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Chick lit
"Chick lit" is a term used to describe a type of popular fiction targeted at women. Widely used in the 1990s and 2000s, the term has fallen out of fashion with publishers, with numerous writers and critics rejecting it as inherently sexist. Novels identified as chick lit typically address romantic relationships, female friendships, and workplace struggles in humorous and lighthearted ways. Typical protagonists are urban, heterosexual women in their late twenties and early thirties: the 1990s chick lit heroine represented an evolution of the traditional romantic heroine in her assertiveness, financial independence and enthusiasm for conspicuous consumption.
The format developed through the early 1990s in both the United States and the United Kingdom with books such as Terry McMillan's Waiting to Exhale (1992, US) and Catherine Alliott's The Old Girl Network (1994, UK). Helen Fielding's Bridget Jones's Diary (1996, UK), wildly popular globally, is the "Ur-text" of chick lit, while Candace Bushnell's (US) 1997 novel Sex and the City, adapted to a well-known television program, has huge ongoing cultural influence.
By the late 1990s, chick lit titles regularly topped bestseller lists, and many imprints were created devoted entirely to it. By the mid-2000s, commentators noted that its market was increasingly saturated, and by the early 2010s, publishers had largely abandoned the category. Nonetheless, the term "chick lit" persists as a popular category of fiction for both readers and amateur writers on the internet.
While the concept of "chick lit" has become outdated in developed-world English language literature, the term, and regional derivations of it, continue to be widely used to describe and analyse popular women's literature in other languages and other parts of the world.
In 1992, Los Angeles Times critic Carolyn See was probably the first to spot that a new style of popular women's fiction was emerging. Though she didn't use the term chick lit, in a review of Terry McMillan's Waiting to Exhale, the critic noted that McMillan's book was not "lofty" or "luminous" but was likely to be highly commercially successful. Carolyn See wrote, "McMillan's new work is part of another genre entirely, so new it doesn't really have a name yet. This genre has to do with women, triumph, revenge, comradeship."
Chick lit did not become an established term for a style of novel until the second half of the 1990s. "Chick" is American slang for a young woman, and "lit" is a shortened form of the word "literature." There was probably no single origin of the term: Princeton University students were reported in 1988 to use chick lit as slang for a course on the Female Literary Tradition and, in the UK, Oxford Reference report that the term arose as a "flippant counterpart" to the term "lad lit". The parallel term used for movies, chick flick, enjoyed slightly earlier uptake. In what was probably one of its first major outings, the term chick lit was deployed ironically: Chick Lit: Postfeminist Fiction was a 1995 anthology of 22 short stories written in response to editors Cris Mazza's and Jeffrey DeShell's call for "postfeminist writing." Early use of the term was heavily associated with journalism (both Bridget Jones's Diary and Sex in the City began as newspaper columns) and James Wolcott's 1996 article in The New Yorker, "Hear Me Purr," co-opted the term chick lit to proscribe what he called the trend of "girlishness" evident in the writing of female newspaper columnists at that time.
In the early years, there was some variation on the exact term used: in 2000, the Sydney Morning Herald reported the birth of a "publishing phenomenon" that can be called "chick fiction."
At the peak of the term's popularity, a slew of related sub-genres were proposed with similar names chick lit jr (for young readers), mommy lit, and chick lit in corsets (historical fiction, and a term only found in one academic paper published in the Journal of Popular Romance Studies). The relationship with the term lad lit is more complicated: lad lit arose in the UK separately from, and possibly before, chick lit. Later, the term lad lit was adopted in the US for a male-oriented subgenre of chick lit (see lad lit). Of these parallel terms, mommy lit, and lad lit are the only terms to have enjoyed any significant uptake - and that a tiny fraction of the use of the primary term chick lit.