O is for the Other Things She Gave Me: Jonathan Franzen’s The Corrections and Contemporary Women’s Fiction (Jane Elliott in Bitch Magazine)
As Franzen himself pointed out when he admitted that Oprah had picked ‘some good books,’ the Oprah list is neither as middlebrow as its detractors would have it, nor as unfailingly invested in bringing quality to the mainstream as its supporters often claim. Despite the widespread perception of Oprah books as spoon-fed schmaltz, many of the novels Oprah has chosen—like Edwidge Danticat’s Breath Eyes Memory and Joyce Carol Oates’s When We Were Mulvaneys—invite the same sort of thoughtful reading Franzen seemed to desire from his audience. But because it draws unapologetically on one person’s taste, the Oprah list doesn’t reflect a consistent standard of literary merit. Rather, it records exactly the sort of meandering path many habitual readers take through the landscape of the literary, dipping into the comfort of Maeve Binchy’s Tara Road one day and stretching to accommodate the difficulty of Toni Morrison’s The Bluest Eye the next. And just because the same person reads both Binchy and Morrison doesn’t mean she reads them both for the same reason or suffers from any confusion about their relative merits. Just as the presence of male writers on Oprah’s list often gets erased, many critics ignored these quality variations as well, lumping her choices into the general category of what one commentator called ‘earnest, womanly fiction.’ As the pejorative use of the word ‘womanly’ suggests, these generalizations rely on assumptions about literary quality that are close at hand—namely, the longstanding association of female writers, ‘feminine’ forms, and middlebrow status.
