Prompts that occurred to me the morning after I read the Vanity Fair excerpt of Olivia Nuzzi's "American Canto."

I am protecting you from A.I. writing. Every word below was written by me except “hex memoir” and “cursed-dick lit." Grok came up with those 2 terms. 

Here's my blog post from yesterday quoting the book and mocking the prose style. And here are Grok's answers to my prompts. I'm just sharing my prompts:

1. Olivia Nuzzi's "American Canto" belongs in a literary genre with E. Jean Carroll's "Hideous Men" [actual title: "What Do We Need Men For?: A Modest Proposal"].

2. It's a style of writing that is exaggerated and beset with literary pretension — used by a woman who had a brush with a powerful man. It's related to memoirs by women (the "Bell Jar" genre) but it's deployed against political characters that are of great importance to people who wouldn't otherwise read florid subjective verbiage.

3. “hex memoir” or “cursed-dick lit” — these are established terms? Quote sources.

4. I'm a woman myself, 74 years old, but I just want to say that American women read some godawful trash.

5. What's the feminist argument that it is NOT feminist to immerse oneself in this kind of reading?

"Since 1851, The New York Times has published thousands of obituaries: of heads of state, opera singers, the inventor of Stove Top stuffing and the namer of the Slinky."

"The vast majority chronicled the lives of men, mostly white ones; even in the last two years, just over one in five of our subjects were female. Charlotte Brontë wrote 'Jane Eyre'; Emily Warren Roebling oversaw construction of the Brooklyn Bridge when her husband fell ill; Madhubala transfixed Bollywood; Ida B. Wells campaigned against lynching. Yet all of their deaths went unremarked in our pages, until now...."

From "Overlooked/Since 1851, obituaries in The New York Times have been dominated by white men. Now, we're adding the stories of 15 remarkable women." (NYT). Among the omitted are Diane Arbus, who died in 1971. You'd think by 1971, the NYT would have caught up to the idea that women are people. But perhaps the fame of Diane Arbus was slow-developing, mostly post-death.  I was, at first, struck by the failure to do an obituary for Sylvia Plath, but she died in 1963, and I think it's pretty clear in that case that her fame arrived posthumously, perhaps because women's-movement proponents were working to elevate stories about women.

Yes, we the general public got to know Arbus because of a book of her work that came out in 1972 (a year after her death), and Sylvia Plath got big because of "The Bell Jar," which was published in 1971, 8 years after her death. And both Arbus and Plath committed suicide. As the NYT says in its late-arriving obituary for Plath, "Because the death was a suicide, Plath’s family did not much advertise it...." If someone who is not already quite famous commits suicide, I'm guessing, obituaries are rare, even for white men.

As for obituaries like the one for the man who invented Stove Top stuffing and the man who named the Slinky, they don't stand for the proposition that men don't have to do much to get a NYT obituary. They stand for the NYT practice of doing quirky obituaries for people with interestingly specific accomplishments. These are a wonderful sub-genre in the NYT, some of the most fun reading the newspaper offers. Don't diminish these obituaries as evidence of sex discrimination. I love those things, and they're often about women.

Here's an article from last year about a documentary about writing obituaries in the NYT: