A really powerful piece that has a great deal to say about how narratives featuring women construct heroism and empowerment.
But there is no female counterpart in our culture to Ishmael or Huck Finn. There is no Dean Moriarty, Sal, or even a Fuckhead. It sounds like a doctoral crisis, but it’s not. As a fifteen-year-old hitchhiker, my survival depended upon other people’s ability to envision a possible future for me. Without a Melvillean or Kerouacian framework, or at least some kind of narrative to spell out a potential beyond death, none of my resourcefulness or curiosity was recognizable, and therefore I was unrecognizable.
True quest is about agency, and the capacity to be driven past one’s limits in pursuit of something greater. It’s about desire that extends beyond what we may know about who we are. It’s a test of mettle, a destiny. A man with a quest, internal or external, makes the choice at every stage about whether to endure the consequences or turn back, and that choice is imbued with heroism. Women, however, are restricted to a single tragic or fatal choice. We trace all of their failures, as well as the dangers that befall them, back to this foundational moment of sin or tragedy, instead of linking these encounters and moments in a narrative of exploration that allows for an outcome which can unite these individual choices in any heroic way. I will also admit that I think fixed narratives can be pretty dangerous. As vessels that shape our sense of self, they can be narcotic, limiting, and boring, and our development as humans is directly tied to our ability to cut across these simplistic story lines rather than be enslaved by them. Keystones in the arch under which we pass into a landscape of adolescent narcissism—that is what I think of fixed narratives. But they also keep us safe. They mark our place in society and make sure we’re seen. Therefore, the only thing more dangerous than having simplistic narratives is having no narrative at all, which is deadly. –The American Reader
In 1998, my boss forwarded me a voicemail from an agent we didn’t know and asked me to follow up on it. Which is what assistant editors do, of course. I read the manuscript immediately. I loved it. Here was a girl who felt real and relatable and insecure, surrounded by a cast of hilarious, fully realized characters. The writing was perfect. With all my vast 20 months of publishing experience, I knew it was special. It wasn’t a quiet book or a book that would easily take awards. There were no sympathetic librarians depicted or heroism in the face of cruel circumstances. There was a dramatic ice cream cone spill and a makeover, though.
We published it a year and a half later, with little else but an iconic, hot-pink jacket, and it became the little book that could. –Publishers Weekly
“At Tinder Press we are committed to finding the freshest literary voices, and the time seems right for us to reach out directly to authors at an early stage in their careers. This business is all about discovering new talent, so we’re hoping to be surprised and delighted, and that at the end of the day we’ll find an author we can go on to work with in the future.” –The Bookseller