![]() ![]() Now, in "Cinderella Ate My Daughter," we see Orenstein at her genre-busting best - and our culture's warped commercialization of girlhood at its worst. In "Flux" (2000), Orenstein interwove her own, 34-year-old Big Life Questions (whether or not to have a child, and how doing so might affect her career, her marriage, her self) with those of the 200 women she interviewed on the subject of "living in a half-changed world." For "Schoolgirls" (1994), Orenstein went back to eighth grade, from which she issued a prescient assessment of the self-doubt that plagues adolescent girls. In "Waiting for Daisy" (2007), she created not only the world's longest subtitle, but also the world's most encompassing, intelligent and moving memoir of infertility. ![]() In her essays for the New York Times Magazine (for which she wrote "What's Wrong With Cinderella?," the 2006 piece that went viral, spawning this book), and in her three previous works of nonfiction, Orenstein consistently brings an opinionated, yet sensible sensibility to the hottest-button questions of contemporary feminism. And, as you might have surmised, I'm an unapologetic admirer of Orenstein's work. Berkeley author Peggy Orenstein is an unapologetically passionate critic of the marketing onslaught she skewers so stunningly in her latest and most masterful book. Reader advisory: If you like your books - and your book reviews - "objective" (assuming you believe that such a thing exists), you've come to the wrong place. ![]() Dispatches From the Front Lines of the New Girlie-Girl Culture By Peggy Orenstein (Harper 244 pages $25.99) ![]()
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