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Hardcover In the Land of Men: A Memoir Book

ISBN: 0062682415

ISBN13: 9780062682413

In the Land of Men

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Format: Hardcover

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Book Overview

One of Vogue's Best Books of the Year

One of Esquire's Best Books of the Year

One of the Wall Street Journal's Favorite Books of the Year

One of the Most Anticipated Books of the Year: Vogue, Parade, Esquire, Bitch, and Maclean's

A New York Times and Washington Post Book to Watch

A fiercely personal memoir about coming of age in the male-dominated literary world of the nineties, becoming the first female literary editor of Esquire, and Miller's personal and working relationship with David Foster Wallace

A naive and idealistic twenty-two-year-old from the Midwest, Adrienne Miller got her lucky break when she was hired as an editorial assistant at GQ magazine in the mid-nineties. Even if its sensibilities were manifestly mid-century--the martinis, powerful male egos, and unquestioned authority of kings--GQ still seemed the red-hot center of the literary world. It was there that Miller began learning how to survive in a man's world. Three years later, she forged her own path, becoming the first woman to take on the role of literary editor of Esquire, home to the male writers who had defined manhood itself-- Hemingway, Mailer, and Carver. Up against this old world, she would soon discover that it wanted nothing to do with a "mere girl."

But this was also a unique moment in history that saw the rise of a new literary movement, as exemplified by McSweeney's and the work of David Foster Wallace. A decade older than Miller, the mercurial Wallace would become the defining voice of a generation and the fiction writer she would work with most. He was her closest friend, confidant--and antagonist. Their intellectual and artistic exchange grew into a highly charged professional and personal relationship between the most prominent male writer of the era and a young woman still finding her voice.

This memoir--a rich, dazzling story of power, ambition, and identity--ultimately asks the question "How does a young woman fit into this male culture and at what cost?" With great wit and deep intelligence, Miller presents an inspiring and moving portrayal of a young woman's education in a land of men.

"The memoir I've been waiting for: a bold, incisive, and illuminating story of a woman whose devotion to language and literature comes at a hideous cost. It's Joanna Rakoff's My Salinger Year updated for the age of She Said: a literary New York now long past; an intimate, fiercely realist portrait of a mythic literary figure; and now, a tender reckoning with possession, power, and what Jia Tolentino called the 'Important, Inappropriate Literary Man.' A poised and superbly perceptive narration of the problems of working with men, and of loving them."-- Eleanor Henderson, author of 10,000 Saints

Customer Reviews

1 rating

For a memoir, Adrienne Miller is largely absent from the pages of her own life.

Miller recounts with clarity the things men have said to her in her time at Esquire, but she doesn’t give you any sense of how she responded, of who she is, of how she overcame these obstacles in her professional career. She omits entirely her own half of the dialogue in most scenes, writing her own memoir as if she were a mere observer of its events. It makes Miller seem a passive woman, which I am certain she is not. She breaks glass ceilings, but you never get a sense of how she did it. She rails against the patriarchy, but her actions are wholly complicit. It is not clear that she ever made any effort to raise up the women who followed in her footsteps, despite her criticism of the barriers that women face. Instead of a memoir about Esquire’s first female literary editor, the bulk of the text is mainly concerned with mythologizing the pathological, manipulative, petulant man-child of “Infinite Jest” fame, David Foster Wallace. She paints Wallace as a fragile narcissist and abuser of women but excuses this behaviour on the basis of artistry. What Miller recounts of Wallace is frankly, sad and gross. What Miller implies about Wallace’s much-darker, unspoken secrets is far worse. Yet, she forgives Wallace his reign of terror on the grounds of his literary merit, as if it is impossible to be both a creative thinker and a half-decent human being. For a woman whose entire literary career has been spent polishing and elevating the work of men from beneath their shadows, I can’t help but feel like her memoir does more of the same, serving only to spruce David Foster Wallace up for readers one final time. Miller spent her career padding and protecting men from their own delicate egos, and it’s a habit she cannot for the life of her break.
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