This blog has run for about 7 and a half years; I joined 3 or 4 months after it started. During those years I have counted the number of women in all sorts of lists. Seven years ago it was pretty depressing. This went for conferences, book authors’ list, lists of directors of plays and movies, and so on and so forth for a seemingly endless number of items. I remember vividly an at least very feminist friendly commentator suggesting that maybe women did not have the big ideas for world-class fiction. And though it would seem very wrong to say all those lists were drawn up to inculcate the sense of women as outsiders in cultural production, that certainly was their impact on many.
That, thank goodness, is changing. I’ve been informally counting the number of women in the “best of 2014” lists that are coming out. Women easily come out at well beyond the earlier 0% to 20%. One of the most enjoyable signs of this is to be found in the following remarks in the NY Times:
In nonfiction, it was a year for young women writers to expand the possibilities of nonfiction: Leslie Jamison’s searching personal essays in “The Empathy Exams”; Olivia Laing’s group portrait of alcoholic writers mixed with memoir in “The Trip to Echo Spring”; Eula Biss’s “On Immunity,” a literary investigation into the anxieties surrounding vaccination; Kerry Howley’s “Thrown,” a tale of mixed martial arts fighters that is mostly true, probably.
The fiction list has its share of veterans — Lorrie Moore, David Mitchell, Haruki Murakami, Marilynne Robinson — but it also has a remarkable number of debut books: 10. Smith Henderson’s “Fourth of July Creek,” about a social worker’s quest to help a boy in off-the-grid Montana, and Yelena Akhtiorskaya’s “Panic in a Suitcase,” the comic tale of a Ukrainian family in Brooklyn, are joined by work from first-timers Boris Fishman, Kathleen Founds, Bret Anthony Johnston, Phil Klay, Eimear McBride, Celeste Ng, Matthew Thomas and Nell Zink.