kvarter Volume 08 • 2014 akademiskacademic quarter

“I am Girl. Hear me Roar” Girlpower and in Chick lit jr. Novels

Maria Nilson is an associate professor in comparative literature at Linnæus Uni- versity. Her research focuses mainly on popular fiction in general and on chick lit, romance, fantasy and dystopian young adult novels in particular.

Abstract The article focuses on an example of chick lit jr., Meg Cabot’s Air- head-trilogy, and how , postfeminism and girlpower are discussed in this text. The novels portray a conflict between the generations, where the daughter rejects her mother’s version of feminism. There is an interesting ambiguity in the text concerning feminist ideals which makes Cabot’s novels, along with many other examples of chick lit jr., difficult to define. But even if there’s a -rem nant of feminism in these novels, that version of feminism stays on the individual plane and never influences society as a whole.

Keywords chick lit jr, feminism, postfeminism, girlpower, generations

Chick lit as a genre has been declared dead on several occasions and the rather tepid reception of Bridget Jones’ latest escapades might be seen as the final nail in the coffin. We seem to be tired of chick lit but chick lit jr., aimed at a younger female reader, seems to be still going strong. Authors like Meg Cabot, Louise Rennison and Cecily von Ziegsar are extremely popular and their books sell in

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Little Women Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am -series) is interpreted as something girls could be as something girls could is interpreted -series) -trilogy and discuss the three books with the help ofthe help with books three discuss the and -trilogy Airhead Gossip Girl [...]sub textually, [...]sub the textually, pastel colors offer us a palette more seen on baby clothes and suggests that feminin regularly for softened and coded color re-commodified, been has ity femi a generation of young women distant enough from nism to feel that this is a new identity they can grasp and belong to. (Whehelan, 2009, 2) 1975 Helen Reddy had a big hit with the song “. Hear Woman. am “I song the with hit big a had Reddy Helen 1975 Chick lit jr. is often seen as “pink” books. The covers are pink and The covers are is often seen as “pink” books. Chick lit jr. What is this new identity that young readers can grasp from chick lit How jr.? is it different? In this article I want to focus on Meg Cabot’s postfeminist theory. wave the second many of the ideas from me Roar”, which captures of feminism from the 1960s and . Over thirty years Meg later, the content is by many considered to be “pink” in a more metaphor “pink” in a more to be the content is by many considered ical as way, the young heroines often choose a very different femi ninity and feminism from that of their mothers’. Chick In “Teening the pink covers and says that:Lit?”, Imelda Whehelan focuses on book for girls living in a postfeminist age. But there are also several also are there But age. postfeminist a in living girls for book Patty Campbell, for example, against the genre. are which voices on consumerism and appear riles against the books and their focus of a generation of by the prospect ances, even if she is unconcerned books these take can one no – them by influenced being girls young she seriously, argues (Campbell 2006). In Sweden, though, critics these letting their daughters read against have warned parents books. The shopping, the drinking and the sex (especially in Zieg sar’s (See, for example, Olsson 2009.) influenced by. huge quantities. Chick lit jr. as a genre is dominated by young and is as a genre Chick lit jr. huge quantities. who shop, of the “girl-power culture”, remnants feisty heroines, Ziegsar’s in novels (more occasion on and fight love, for look party, defended by sometimes have sex. These books are than in Cabot’s) critics such Johnson, as for Joanna example, Webb who applauds girls’ ac opinion, doesn’t judge or condemn that, in her the genre Johnson tions 2006). (Webb She sees chick lit as jr. a new and im Alcott’s Louisa M. version of books like proved and liberating, a new kind of to be modern the genre proclaims quarter

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Being Nikki Being -trilogy is a com Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am Airhead Manifesta. Young Women, Manifesta. Young , young adult fiction has been has fiction adult young , from 2008, in which we meet Em, a strong, strong, a Em, meet we which in 2008, from (2000) that there is a whole generation of The Hunger Games Hunger The Airhead Airhead Having spent a few years writing about chick lit, I find chick lit chick find I lit, chick about writing years few a spent Having of Suzanne Collins’ Suzanne of flooded with dystopian fiction and, in an earlier article, compare I The 2013). (Nilson novels bestselling Collins’ to trilogy this trilogy starts with girls who live for girl who hates all “airheads”, somewhat nerdy their looks and whose main focus in life is clothes, make up and ac After cessories. a few pages, Em dies and her brain is transplanted is book second The body. Nikki’s supermodel into tradictory. Are these books examples of backlash? How do they these books examples of backlash? How do they Are tradictory. An they postfeminist? Are to the concept of “girl-power”? relate tifeminist? Any kind of feminist? I hope to be able to provide at least some answers. A Pink Dystopia who is famous for Meg Cabot is a well known author of chick lit jr. both her books about Princess Mia Allie and Finkle. Her books are is there and of happy endings abundance an are there funny, often but very seldom sex. The usually romance, success huge the After fiction. dystopian and jr. lit chick of bination Baumgardner Baumgardner Amy and Richards argue in Feminism and the Future many of the choices they havewomen who do not understand that are possible because of feminism and who don’t want to define themselves as feminists. Which brings us to the ill-defined concept seldombut culture, popular in often used term a postfeminism, of from things, different many mean can it as theorists, gender by used needed as is nowthe idea that feminism is no longer “new” feminism of . to the a reality, both ambivalent and con as the books are especially interesting jr. Cabot writes her trilogy and a lot has happened to feminism over trilogy and a lot has happened Cabot writes her have had the wave third of these feminism, years. when We the cri was in as “white”, middleclass and heterosexual tique of feminism what of period a had have we 1999), Segal example for (see tensified Susan Faludi defined as “backlash” in her famous book from 1991 feminism 1990s and 1980s the in that argues she where 1991), (Faludi women’s than didn’t improve was often portrayed as a movement and we a woman, be to difficult more it made rather but all, at lives have also the notion that feminism is no longer needed. Jennifer quarter

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Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am from 2010, from in which the dysto Runaway “Pretty”, Mum said, looking confused, “is a patriarchal Mum said, looking confused, “is a patriarchal “Pretty”, designed to make women feel less worthy un construct established by the less they live up to a certain standard know You male-dominated fashion and beauty industry. that, Em. I tell you and Frida that all the I time”. “Yeah”, might That know. “I again. down picture the putting said, (Cabot 2010, 137) be part of the problem”. However, the focus in However, these books is not on Em’s struggle to de Em’s mother is a feminist who named her younger daughter after rebel to daughters her taught has She Kahlo. Frida artist iconic the against old-fashioned ideas of what girls should look like and how they should act. She wants her daughters to be strong and inde maketo and education, good a have to them wants she pendent, their mark on the world. The idea that it is important for Em to her mother cannot understand and she is is something pretty be planted into Nikki’s body, she is all of a sudden “pretty”. planted into Nikki’s body, Feminist The Old-Fashioned between generations is somewhat heightened as rich old people canbetween generations is somewhat their brains transplanted into it.“buy” a new young body and have The person in whose dys body is used dies. Em, like most heroines topian young adult fiction, has to battle against the corporation to generation of teenagers who willsave not only herself but a whole old and rich can live forever. otherwise be sacrificed so that the herself in a to reinvent struggle feat the evil corporation but on her thinks who tomboy a story the of beginning the in is Em body. new a jeans, with wrong “What’s that. just being with content is she that trans is brain her when But 26). 2008, (Cabot converse?” and hoody pian traits are stronger. The multibillion dollar company responsi The stronger. pian traits are ble for Em’s second chance at life turns out to be an evil force that conflict The it. afford can that those to youth everlasting sell to seeks 2009, where Em has to live Nikki’s life, since almost everyone thinks everyone almost since life, Nikki’s live to has Em where 2009, that she is Em her. cannot be herself, she has to pretend be Nikki, and being a supermodel is not everything it is cracked up to be. Em leads to all kinds a new version of a girl, and that has to learn to be darker. it becomes but as the story progresses of comic situations, with The trilogy concludes quarter

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Volume 08 . from . 2009. from The post “I am Girl. Hear me Roar” Girl. Hear “I am Bridget Jones’ Diary Postfemininities in Popular Cul Feminism Inc that girl power as a phenomenon is that girl power as a phenomenon is are, are, in her opinion, ambiguous. Instead of watered-down feminist position available feminist position available watered-down is draw upon as they create their gender identities. (Zaslow identities. gender their create they as upon draw 2009, 9) Girl power but it is also a meaningful and wide as stylish accessory, embodiment of some feminist positions that girls spread (2009) that the discussion of popular culture has been too color too been has culture popular of discussion the that (2009) So what is feminism in these novels? In chick lit jr., there is a great great a is there jr., lit chick In novels? these in feminism is what So Girl power is a rather vague concept. Is it all about empowerment? about all it Is concept. vague rather a is power Girl in argues Orenstein Peggy exactly? what do to empowerment And Cinderella Ate My Daughter own one’s of control taking about is it hand, one On edged. double life and not letting society tell you what to do, but on the other multiple layers of female identification that oscillate between sub Za Emilie 26). 2009, (Genz perpetrator” and victim object, and ject in in a similar way slow argues the by influenced heavily is culture popular in see we that feminism Zaslow says that girl-power can be an exam concept of girl-power. ple of backlash but at the same time it challenges the way we think about femininity and masculinity. hypocrites and often as prudes. When Em’s mother complains about Em’s new life as a supermodel with the parties and the sexy always mum’s “My her. misjudged has she that realizes Em clothes, been a feminist. But I never thought (Cabot she 2010,was a prude” 132). Should we see these descriptions of feminists as a kind of backlash? Stéphanie Genz argues in ture ed by the backlash concept. Examples like BuffyVampire the Slayer should try to see how feminismcondemning them as backlash, we has influenced them. She writes: “Postfeminist femininity presents equally baffled by Frida’s desire to be a cheerleader. In the begin the In a cheerleader. be to desire Frida’s by baffled equally ning of the Em trilogy, is completely on her been mother’s has she that realizes side, she but body, new a in herself finds she when unhappy for years. She starts to rebel against her mother and her feminist ideas. and feminists in which feminism of feminism, deal of discussion usually demonized. described are Feminists as are “man-hating”, seen as old-fashioned. They are “ugly” and “hairy” and labeled quarter

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Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am that feminism has become a “fossil” in For many young women and girls growing up in a so- called post feminist age, with its emphasis on consumer ringing in their and “go-girl” rhetoric ism, sexual freedom, Second-wave feminism is remembered and demonized as demonized and remembered is feminism Second-wave and hairy and politically correct, personally censorious, has been the key other for younger women keen to cele brate the femininity and feminism of Buffy and Allie. 2006, 43) (Brunsdon One aspect is of course the kind of feminism that is described. The sharp criticism against feminism that we can see in chick lit jr. in chick lit jr. against feminism that we can see The sharp criticism molded into something old-fashioned and ridiculous, something into something old-fashioned molded that belongs to an older generation. Kerry Mallan says in Fiction Children’s in Dilemmas young adult fiction: messages suggesting that what women really want is love and want is love and women really messages suggesting that what to embrace you need a woman marriage, and that to be happy as your femininity. is culture popular in feminism “dis-identity”: about talks Brunsdon a stereotypical female from days gone In by. the final book, as Em implication the resent “I says: Em fight, to ready get friends her and explosives” her way around that a girl wouldn’t necessarily know build also can she but gloss, lip handle now can She 20). 2010, (Cabot a bomb. So why is it so important to refuse the idea of feminism in these books? but feminist, stereotypical a just not ways many in is mother Em’s also a of parody what a feminist is. Charlotte Brunsdon in argues “The Feminist in the Kitchen: Martha, Martha and Nigella” that for the last ten years or so, popular culture has been filled with hand, says Orenstein, it is a lot about conforming to a specific kind specific a to conforming about lot a is it Orenstein, says hand, onlyis choose to freedom The today. norm the is that femininity of 2011). surface (Orenstein on the there thinking. feminist by influenced aren’t texts these that mean doesn’t Em may be very critical of her but mother, in another way she em braces the lessons that her mother has taught her. She is assertive, supermodel she becomes the pretty and even when she is strong behind, she cannot be described asthat has left the jeans and hoodie quarter

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Volume 08 , but as an argument , but as an argument “I am Girl. Hear me Roar” Girl. Hear “I am per se , Zygmunt Bauman describes what he sees as all tooall as sees he what describes Bauman Zygmunt , -trilogy is in many ways about getting what we could-trilogy is in many ways about getting Liquid Love ears, it is little wonder that feminism would seem as out that feminism would seem ears, it is little wonder (Mallan 2009, 37) dated as a walkman. Airhead In At the end of the trilogy Em’s mother has come to both under and gender, the clothed body becomes a site on which girls can girls can site on which body becomes a the clothed gender, and demonstrate their knowledge of fashion, and design identities to new her uses Em Nikki performing, In 86). 2009, (Zaslow perform” body to try out new kind of identities. But is that the only way we differ with experiment to way a As makeover? the understand can ent kinds of identities? obsession with our our modern world, namely our in common The Makeover The call an makeover”. “extreme Em gets a whole new body complete makeoverthe jr., lit chick In accessories. and wardrobe new a with herself and needs to reinvent is an important theme. The heroine one of the tools she uses is generally clothes and make up. These books deal do in focus thema is lot a on great appearances – there of the how to apply lipstick and the horrors about what to wear, Za meaning. deeper a has also clothes but – choice fashion wrong as a stage for up scenes” should be read that the “dress slow argues race class, of marker a “As identities. of kinds different performing for a young generation, Baumgardner and Richards Richards and Baumgardner generation, young a for feminism new argue that an important part of the conflict between generations has often insisted that of feminists is that the older generation Elm,Diane Quoting one. correct the is feminism of “version” their manifests itself write: “This problem and Richards Baumgardner junior feminists be good daugh when senior feminists insists that advo mothers their that feminism of kind same the defending ters, cated” & 224). (Baumgardner Richards, It is, then, possible to read of feminism the trilogy not as a rebuttal for a new kind of feminism. A feminist is something your mother is, feminism belongs to the mother is, feminism belongs feminist is something your A older generation and Em, along with a large group of chick lit jr. her to create in order her mother from free to break needs heroines, own identity. stand and her respect daughter’s choices. In their “manifest” for a quarter

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, Trinny and Susannah and Trinny Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am Extreme Makeover Extreme we see so called experts giving ordi Trinny and Susannah Trinny and I’m not actually the most feminine girl in the world. I hon I world. the in girl feminine most the actually not I’m estly wouldn’t mind trying to be, but the two or three times I’ve experimented by putting on eyeliner or what has Frida just burst into hysterical laughter and told ever, and of whom there has never been a richer (Bau supply. man 2003, 58) If you feel ill at ease in a fluid world and are lost among the among lost are and world fluid a in ease at ill feel you If signs that seem to move as of contradictory road profusion those expert counselorsif on castors, visit one or some of demand a greater has never been for whose services there Em in Cabot’s novels is described as one of those girls who hasn’t who girls those of one as described is novels Cabot’s in Em Rosalind Gill discusses in”The Postfeminist Media Culture: Ele nary people a makeover, showing them how to dress, exercise and exercise them how to dress, showing nary people a makeover, of episode an seen ever have you If eat. to what years and I still have no idea what shade of lip gloss looks good on the of beginning the in but clever, be may She 2). 2008, (Cabot me...” trilogy she is also described as silly: Loser they choose you will know that at the beginning of the program clothes. Usually women who, in their opinion, wear the wrong there is at least one woman on the show that dresses like Em does, notas seen generally is woman This “unfeminine”. labeled is and and Susannah’s and when she learns, with Trinny loving her body, she becomes a happier person. help, to embrace her femininity, got a clue how to be feminine. “I have been alive nearly seventeen This need and desire to use experts becomes a bit ambiguous as to use experts becomes a bit ambiguous This need and desire is also about making your today’s own culture choices. Bauman is let other people decide what wecritical of how we, in his opinion, eat and so on. how we should should wear, (Gill paradigm” makeover “the calls she what Sensibility” of ments 2007). In today’s popular culture the makeover is one of the most dominant themes. shows like With selves. This is the era of “me, myself and I”, and Bauman talks about talks Bauman and I”, and myself “me, of era the is This selves. ourselves. reinvent but also our need to constantly our narcissism always on the hunt for are our own identity and in this hunt we We called “experts”. Bauman comments: often helped by so are quarter

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, one of Nikki’s Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am is that we need a makeo Being Nikki Formations of Class and Gender and novels like Cabot’s there seems to be and novels like Cabot’s there with, I sort of longed to be pretty too?” (Cabot 2010, 110). The Queer Eye for the Straight Guy to me to “Take me it to off!“Take Just take it off right now” before I’ve the apartment. (Cabot 2008, 17) even gotten out of Trinny and Susannah Trinny The novels also say that being pretty is not enough if you want to is not enough if you want The novels also say that being pretty One of the goals of the makeover is of course to secure a partner, partner, a secure to course of is makeover the of goals the of One Why does Em want this? Why isn’t she satisfied being the smart wants to be attractive but she also wants to be respectable. In chick In respectable. be to wants also she but attractive be to wants “bad” girls, and just as are “good” girls and there are there lit jr., Beverly in Skeggs argues like old friends Lulu gives Em a makeover they before hit the clubs. “I looked just like a hooker I’d seen once down Side the High West so. saying by feelings Lulu’s hurt to wanted hadn’t I Thought way. Em 233). 2009, (Cabot man” a been had hooker the since Especially ver in order to attract the opposite sex. When it comes to shows in order to secure both a position in society and a man (!), the hero the (!), man a and society in position a both secure to order in in need to perform the right kind of femininity ines in the genre to be respectable. order the on but, makeover, the need you hand, one the On love. true find a common theme which says that women or girls need to be pretty, women or girls need to be pretty, a common theme which says that need to be feminine and soft in order to be attractive. But it is not you need to be the right kind ofjust that you need to be feminine, is she but eye-liner, an out figure to able be not might Em feminine. the portrayed as a young woman who instinctively knows where borders between sexy and slutty lie. In doesn’t want to be just friends. She wants more than that. “Hadn’t all those times I’d sat in our living room, wishing that Christopher than just someone to play would notice me as something more neyquest the of one but sake, own her for pretty be to wants she that says Em to needs Em love true procure to order in that is novel the of themes feminine. become more from makeover programs and an overall theme in a lot of Loser After her brain is transplanted into Nikki’s she body, needs to to alien was completely femininity that perform a kind of learn to her before. and competent girl that her mother wants her to be? It’s all about Emthat is problem the but Christopher, is friend best Em’s boy. the quarter

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Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am ” (Cabot 2009, 215). It is not until Christopher realizes that girl Girl power focuses on style as a mark of one’s autonomy, as a symbol of one’s connection on sexual expressions There was no denying that my lips felt super tingly where lips felt super tingly where was no denying that my There detectto starting of sort was I And them. touched had his How Nikki God! my O now. area loinage my in fire some had never just had I and am, I maybe Or slut! total a is ard (Cabot 2009, 88) now. an opportunity to discover it until There is another aspect to Em’s makeover. Before, when she was she when Before, makeover. Em’s to aspect another is There and she reconciles with her mother. Em is now pretty, she is attrac is she pretty, now is Em mother. her with reconciles she and tive and she knows how to make a bomb since she is a girl that of example perfect a is She explosives. around way her know does a “girl power” kind of heroine. So what does that mean? Zaslow that argues As we know Adrianne from Rich, Monique and Wittig Judith But vital to performing is desire heterosexual just to name a few, ler, both femininity and Being masculinity female in the “right” way. means desiring a male, at least if you want to follow the norms that still govern large parts of Em our needs society. to master the eye- being. she also needs to awaken as a heterosexual but liner, The I of postfeminism? At the end of Cabot’s Em trilogy, is happy in her new She body. triumphs against the evil corporation, she gets her Christopher it really is Em in Nikki’s body that he can see past the surface. is Em in Nikki’s body that he it really in she might have been interested a tomboy in jeans and a hoodie, in that body Nikki’s It’s desires. sexual no had she but Christopher, discovers desire: a way teaches her about sex. Em other hand, you need to be yourself, albeit an improved version of need to be yourself, albeit an improved other hand, you yourself. When Em first approaches Christopher in Nikki’s body, he is completely uninterested. “He’d just blown off the hottest su with impressed isn’t He 256). 2009, (Cabot planet” the on permodel Nikki’s and beauty, Em is really upset when she realizes that he “The one they used to make fun of. airhead her like the now treats or not even me so much as Nikkiperson I thought could help me – busboy. a Or fly. a was I if as me, ignored completely just he’d and – Or a quarter

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Manifesta. Young Manifesta. Young Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am . New York: Farrar, . Straus New Farrar, York: and Liquid Love. On the Frailty of Human Bonds with the self, on independence from men rather from pa men rather from independence from with the self, on on the indi and of power, relations systems and triarchal a member of rather than as resister vidual as independent 150) movement. (Zaslow 2009, collective social change Cambridge: Polity. Feminism and the Future Women, Giroux. In the beginning of this article, I describe these books as ambiva References 2003. Zygmunt. Bauman, Jennifer Baumgardner, & Amy Richards. 2000. conditions that women (and men) live under as Em is focused on bothof help the with be, to wants she who become to quest own her a make-over and a boyfriend. Baumgardner and Richards argue that: “[F]eminism wants you to be whoever you are – but with a political consciousness”, (Baumgardner & Richards 2000, 57). It’s not just that Em lacks a political consciousness; in Cabot’s trilogy ri to change society is seen as unnecessary and slightly the desire feminin of kind new a gained and battle the won has Em diculous. it: put Richards and Baumgardner As there. ends victory the but ity waste” to going really is polish nail the politics, of body a “Without 2000, 166). & Richards (Baumgardner Cabot’s novels, there is never any desire to change society in any any desire is never Cabot’s novels, there to do for the heroine is a certain freedom if there way and even femininity in different ways, that is only possible if she is firmly matrix. placed inside the heterosexual and I lent stand and by contradictory, that. They cannot be labeled either feminist or antifeminist. findWe in them a lot of old fash ones,some modern also are there but about femininity, ideas ioned and Em is portrayed as a strong female subject. The feminism in connected to an individual completely these novels is, however, the or to improve the world to change no desire is There project. In chick lit there jr., is a focus on the individual and on her or his feminist traits in there Are wants. ability to do anything she or he does not mean that but that are, of course there Yes, these novels? discussion about power in is no real There books. feminist are they quarter

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. New York: York: New . . Ed. Suzanne Working Working Papers Vol. 80. Issue 5. Vol. Volume 08 More More than Glitz and “I am Girl. Hear me Roar” Girl. Hear “I am New York: New Harper York: Pa . July/August. Feminism in Popular Culture Feminism in Popular London: Macmillan. Cinderella Ate My Daughter. Dispatches from from Dispatches Daughter. My Ate Cinderella Postfeminist Media Culture: Elements of Postfemininities in Popular Culture Flicktion. Perspektiv på flickan i fiktionen Formations of Class and Gender. Becoming Re Formations of Class and Gender. Att flicka sig. Hur flickor gör genus i chick lit i chick genus gör flickor Hur sig. flicka Att “ Backlash. The Undeclared War against Backlash. Women The War Undeclared Gender Dilemmas in Children’s Fiction Children’s in Dilemmas Gender “ European European Journal of Cultural Studies. Why Feminism? Gender, Psychology, Politics Psychology, Gender, Feminism? Why http://www.dn.se/dnbok/karlek-karlek-pa- Airhead. . London: Macmillan. Chick lit. The Fiction New Woman’s . London: Macmillan. , volume 13. The Horn Book Magazine . London: Sage. 19/5 2009. 19/5 Being Nikki Runaway p. 611 - 616. p. 611 Martha and Nigella” In: Nigella” and Martha spectable Glamour”. In: London: Routledge. p. 141- 158. Young. Ferris & Mallory on the Web och teen noir”. In: ted by Eva Söderberg, Mia Österlund & Bodil Formark. Lund: 207. p. 191 – Academic Press. Universus heter vaggen-dar%5C [2012-10-09] of the Girlie-Girl Culture. the Frontlines perbacks. Columbia University Press. York: London: Vintage. Palgrave MacMillan. Sensibility”. In: 147 - 166. Palgrave MacMillan. Joanne Hollows & Rachel Moseley. Oxford: Berg Publishers. p. Publishers. Berg Oxford: Moseley. Rachel & Hollows Joanne 41 - 56. Lit”. In: Skeggs, Beverly. 1997. Skeggs, Beverly. Johnson, Webb Joanna. 2006. “Chick lit Jr. Whelehan, Imelda. Chick 2009. lit?” “Teening In: [2012-06-02] http://extra.shu.ac.uk/wpw/chicklit/whehelan.html Olsson, Lotta. 2009. “Kärlek, kärlek på väggen där”. In: där”. väggen på kärlek “Kärlek, 2009. Lotta. Olsson, 2011. Peggy. Orenstein, 1999. Lynne. Segal, Faludi, Susan. 1991. 2009. Stéphanie. Genz, Gill, Rosalind. 2007. 2009. Kerry. Mallan, 2013. Maria. Nilson, Brunsdon, Brunsdon, Charlotte. 2006. “The Feminist in the Kitchen: Martha, Cabot, Meg. 2008. – 2009. – 2010. Campbell, 2004. Patty. “The Sand in the The Oyster. Lit in Chick quarter

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Volume 08 “I am Girl. Hear me Roar” Girl. Hear “I am Feminism, Inc. Coming of Age in a Girl Power . London: Palgrave Macmillan. . London: Palgrave Media Culture Zaslow, Emilie. 2009. Zaslow, quarter

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