Good in Bed
Jennifer Weiner, 2001
Simon & Schuster
400 pp.
ISBN-13: 9780743418171
Summary
For twenty-eight years, things have been tripping along nicely for Cannie Shapiro.
Sure, her mother has come charging out of the closet, and her father has long since dropped out of her world. But she loves her friends, her rat terrier, Nifkin, and her job as pop culture reporter for the Philadelphia Examiner. She's even made a tenuous peace with her plus-size body.
But the day she opens up a national women's magazine and sees the words "Loving a Larger Woman" above her ex-boyfriend's byline, Cannie is plunged into misery...and the most amazing year of her life. From Philadelphia to Hollywood and back home again, she charts a new course for herself: mourning her losses, facing her past, and figuring out who she is and who she can become. (From the publisher.)
In 2008 Weiner published Certain Girls, her sequel to Good in Bed
Author Bio
• Birth—March 28, 1970
• Where—De Ridder, Louisiana, USA
• Raised—Simsbury, Connecticut
• Education—B.A., Princeton University
• Currently—lives in Philadelphia, Pennsylvania
Jennifer Weiner is an American writer, television producer, and former journalist. She is based in Philadelphia, Pennsylvania.
Background
Weiner was born in DeRidder, Louisiana, where her father was stationed as an army physician. The next year, her family (including a younger sister and two brothers) moved to Simsbury, Connecticut, where Weiner spent her childhood.
Weiner's parents divorced when she was 16, and her mother came out as a lesbian at age 55. Weiner has said that she was "one of only nine Jewish kids in her high school class of 400" at Simsbury High School. She entered Princeton University at the age of 17 and received her bachelor of arts summa cum laude in English in 1991, having studied with J. D. McClatchy, Ann Lauterbach, John McPhee, Toni Morrison, and Joyce Carol Oates. Her first published story, "Tour of Duty," appeared in Seventeen magazine in 1992.
After graduating from college, Weiner joined the Centre Daily Times in State College, Pennsylvania, where she managed the education beat and wrote a regular column called "Generation XIII" (referring to the 13th generation following the American Revolution), aka "Generation X." From there, she moved on to Kentucky's Lexington Herald-Leader, still penning her "Generation XIII" column, before finding a job with the Philadelphia Inquirer as a features reporter.
Novels and TV
Weiner continued to write for the Inquirer, freelancing on the side for Mademoiselle, Seventeen, and other publications, until after her first novel, Good in Bed, was published in 2001.
In 2005, her second novel, In Her Shoes (2002), was made into a feature film starring Cameron Diaz, Toni Collette and Shirley MacLaine by 20th Century Fox. Her sixth novel, Best Friends Forever, was a No. 1 New York Times bestseller and made Publishers Weekly's list of the longest-running bestsellers of the year. To date, she is the author of 10 bestselling books, including nine novels and a collection of short stories, with a reported 11 million copies in print in 36 countries.
In addition to writing fiction, Weiner is a co-creator and executive producer of the (now-cancelled) ABC Family sitcom State of Georgia, and she is known for "live-tweeting" episodes of the reality dating shows The Bachelor and The Bachelorette. In 2011, Time magazine named her to its list of the Top 140 Twitter Feeds "shaping the conversation." She is a self-described feminist.
Personal
Weiner married attorney Adam Bonin in October of 2001. They have two children and separated amicably in 2010. As of 2014 she lives in Philadelphia, Pennsylvania, with her partner Bill Syken.
Gender bias in the media
Weiner has been a vocal critic of what she sees as the male bias in the publishing industry and the media, alleging that books by male authors are better received than those written by women, that is, reviewed more often and more highly praised by critics. In 2010, she told Huffington Post,
I think it's a very old and deep-seated double standard that holds that when a man writes about family and feelings, it's literature with a capital L, but when a woman considers the same topics, it's romance, or a beach book—in short, it's something unworthy of a serious critic's attention.... I think it's irrefutable that when it comes to picking favorites—those lucky few writers who get the double reviews AND the fawning magazine profile AND the back-page essay space AND the op-ed...the Times tends to pick white guys.
In a 2011 interview with the Wall Street Journal blog Speakeasy, she said, "There are gatekeepers who say chick lit doesn’t deserve attention but then they review Stephen King." When Jonathan Franzen's novel Freedom was published in 2010 to critical acclaim and extensive media coverage (including a cover story in Time), Weiner criticized what she saw as the ensuing "overcoverage," igniting a debate over whether the media's adulation of Franzen was an example of entrenched sexism within the literary establishment.
Though Weiner received some backlash from other female writers for her criticisms, a 2011 study by the organization VIDA bore out many of her claims, and Franzen himself, in an interview with the Daily Telegraph, agreed with her:
To a considerable extent, I agree. When a male writer simply writes adequately about family, his book gets reviewed seriously, because: "Wow, a man has actually taken some interest in the emotional texture of daily life," whereas with a woman it’s liable to be labelled chick-lit. There is a long-standing gender imbalance in what goes into the canon, however you want to define the canon.
As for the label "chick lit", Weiner has expressed ambivalence towards it, embracing the genre it stands for while criticizing its use as a pejorative term for commercial women's fiction.
I’m not crazy about the label because I think it comes with a built-in assumption that you’ve written nothing more meaningful or substantial than a mouthful of cotton candy. As a result, critics react a certain way without ever reading the books.
In 2008, Weiner published a critique on her blog of a review by Curtis Sittenfeld of a Melissa Bank novel. Weiner deconstructs Sittenfeld's review, writing,
The more I think about the review, the more I think about the increasingly angry divide between ladies who write literature and chicks who write chick lit, the more it seems like a grown-up version of the smart versus pretty games of years ago; like so much jockeying for position in the cafeteria and mocking the girls who are nerdier/sluttier/stupider than you to make yourself feel more secure about your own place in the pecking order.
(Author bio adapted from Wikipedia. Retrieved 5/21/2014.)
Book Reviews
It is temping at first but unwise to assume Candace Shapiro is yet another Bridget Jones. Feisty, funny and less self-hating than her predecessor, Cannie is a 28-year-old Philadelphia Examiner reporter preoccupied with her weight and men, but able to see the humor in even the most unpleasant of life's broadsides. Even she is floored, however, when she reads "Good in Bed," a new women's magazine column penned by her ex-boyfriend, pothead grad student Bruce Guberman. Three months earlier, Cannie suggested they take a break apparently, Bruce thought they were through and set about making such proclamations as, "Loving a larger woman is an act of courage in our world." Devastated by this public humiliation, Cannie takes comfort in tequila and her beloved dog, Nifkin. Bruce has let her down like another man in her life: Cannie's sadistic, plastic surgeon father emotionally abused her as a young girl, and eventually abandoned his wife and family, leaving no forwarding address. Cannie's siblings suffer, especially the youngest, Lucy, who has tried everything from phone sex to striptease. Their tough-as-nails mother managed to find love again with a woman, Tanya, the gravel-voiced owner of a two-ton loom. Somehow, Cannie stays strong for family and friends, joining a weight-loss group, selling her screenplay and gaining the maturity to ask for help when she faces something bigger than her fears. Weiner's witty, original, fast-moving debut features a lovable heroine, a solid cast, snappy dialogue and a poignant take on life's priorities. This is a must-read for any woman who struggles with body image, or for anyone who cares about someone who does.
Publishers Weekly
Weiner's first novel should satisfy readers from older teens and above. Cannie Shapiro is in her late twenties, funny, independent, and a talented reporter for the Philadelphia Inquirer. After a "temporary" break-up with her boyfriend of three years, she reads his debut column, "Good in Bed," in the women's magazine Moxie. Titled "Loving a Larger Woman," this very personal piece triggers events that completely transform her and those around her. Cannie's adventures will strike a chord with all young women struggling to find their place in the world, especially those larger than a size eight. Despite some events that stretch credulity and a few unresolved issues at the end, this novel follows the classic format of chasing the wrong man when the right one is there all along. Veteran storyteller Maeve Binchy gave us Bennie in Circle of Friends; now Jennifer Weiner gives us Cannie. Look for more books from Weiner. —Rebecca Sturm Kelm, Northern Kentucky Univ. Lib., Highland Heights.
Library Journal
When Cannie Shapiro, a witty but overweight reporter for the Philadelphia Examiner, opens the latest issue of Moxie, a trendy woman's magazine, she's shocked and horrified to find an opinion piece by her ex-boyfriend, Bruce, that not only talks about their sex life but also about her insecurities about her weight.... From there, it's a rollercoaster ride of ups and downs, wild success and bitter lows, during which Cannie finds success, peace, and even love. A warm, refreshing story. —Kristine Huntley
Booklist
A Philadelphia Examiner columnist takes a fresh look at the miseries visited on women by their lovers, fathers, and themselves as they try to conquer the world by waging war on their own bodies. Cannie Shapiro has a lot to be thankful for: a diploma from Princeton, an affordable apartment, and a job covering the pop culture scene for the Philadelphia Examiner that not only pays the rent but offers perks like lunch with the latest Oscar contenders. Still, more is sometimes less, as she discovers when Bruce Guberman, her slacker ex, lands a job at Moxie writing a column called "Good in Bed." His sign-on effort, "Loving a Larger Woman," is the opening salvo in a series of journalistic invasions of privacy that send this rock-solid reporter reeling. She blows off steam first to her sympathetic best friend Samantha, then to her preoccupied mother (who recently swore off men altogether and set up housekeeping with a swimming instructor named Tanya), and finally to the perpetrator himself, flinging a barrage of invective and a half-used box of tampons at his unworthy head. But afterward Cannie reconsiders-after all, the point of his column is that, despite her dimensions, Bruce loved her-only to find her former partner vague and evasive. There's one brief encounter the night of his father's funeral before Bruce gives Cannie a no-frills brushoff, ignoring her tentatively conciliatory calls. Cannie seeks refuge in the University of Pennsylvania's Weight and Eating Disorders Clinic until its kindly director, Dr. Krushelevansky, informs her that she's been washed out of their newest clinical trial because of her pregnancy. Now Cannie has truly weighty matters on her mind as she confronts her losses, past and present, in order to secure the future for herself and her child. Weiner's voice rings true as she flouts conventional wisdom about what women want. An unpredictable and impressive debut.
Kirkus Reviews
Book Club Discussion Questions
1. With Good in Bed, Jennifer Weiner has garnered a lot of early praise for her alternately hilarious and poignant dialogue, and also for her pitch-perfect ear in rendering the conversational rhythms of Cannie's first-person narrative voice. Looking back through the novel, what is it about the dialogue that works so well? In what ways does it serve to subtly develop each character's motivations and idiosyncrasies?
2. Discuss, in connection with the previous question, the specific tone and quality of Cannie Shapiro's voice. What techniques does Weiner employ to make Cannie's musings and descriptions come across so intimately? What sets the author's style apart from that of other contemporary authors? To which novelists would you say Weiner bears the closest comparison?
3. Cannie Shapiro is, among other things, a woman struggling to emerge from the shadow cast by her father's emotional abuse and aggressive abandonment. How successful is she, finally, in doing so?
4. In what ways do we see the painful legacy of Cannie's early relationship with her father (whom she dubs "the Original Abandoner") at work in the action of this novel, affecting the tenor of Cannie's relationships, choices, and/or motivations? To what degree can we view Bruce as a stand-in for her father?
5. "Maybe," Bruce writes in his notorious Moxie debut, "it was the way I'd absorbed society's expectations, its dictates of what men are supposed to want and how women are supposed to appear. More likely, it was the way she had. C. was a dedicated foot soldier in the body wars....C. couldn't make herself invisible. But I know that if it were possible — if all the slouching and slumping and shapeless black jumpers could have erased her from the physical world, she would have gone in an instant." With these lines, from the novel's opening chapter, Weiner begins to lay the framework for the larger themes that temper, texture, and lend weight to the comedy and romance propelling Cannie's story. What are these themes and issues, and how are they developed throughout the rest of the novel?
6. The real-life specter of the Lewinsky-Clinton debacle looms in the background of this novel's fictional landscape. How does the Monica Lewinsky scandal — and, more to the point, the witheringly cruel and petty reception that accompanied Lewinsky's emergence in media stories — speak to the novel's portraits of male-female relationships in a body-obsessed culture?
7. How accurate is it to say that body fat has become, as Bruce writes in his column, "the only safe target in our politically correct world," the last "acceptable" object of societal prejudice? Where do we see this sort of prejudice at work? And in our advertising-drenched, consumer-driven society, where beauty and youth seem to be the chief signifiers of power and happiness, what are the implications and consequences of this prejudice?
8. How do Cannie's understandings of and feelings about her mother's relationship with Tanya evolve over the course of this story?
9. Are Tanya's cloying penchants for therapy-speak, rainbow flags, and "tofurkey" enough to justify the hostile attitude and relentlessly barbed humor Cannie directs toward her? Why or why not? In what way might the absence of Cannie's father be contributing to her animosity? What else?
10. Recalling a lecture from Psych 101 on the behavioral effects of random reinforcement, Cannie realizes that she's "become [her] father's rat." What is going on here? Unpack the meanings of Cannie's metaphor, and discuss how it relates to her subsequent relationships with men.
11. Look at Good in Bed in the context of other contemporary novels, movies, and plays about young, professional, single women looking for love and happiness in the big city. To what degree does this novel echo and reinforce certain narrative traditions you've come to expect from the genre, and in what ways does it depart from or redefine these traditions? [You might, for example, discuss Weiner's novel alongside recent works by Melissa Bank, Helen Fielding, and Candace Bushnell.]
12. "What I wanted, I thought, pressing my pillow hard against my face, was to be a girl again. To be on my bed in the house I'd grown up in...to be little, and loved. And thin. I wanted that." If we were to describe Good in Bed as the story of one woman's search for a true home, what elements would make up Cannie's ideal home? And how does this ideal change during the novel?
13. If you had to distill the themes, politics, and essential storyline of Good in Bed into three sentences for a write-up in the "And Bear in Mind" section of the New York Times Book Review, what would you say?
14. In the hospital after her fall at the airport, Cannie admits only to herself that the real source of all her anger was the fact that she "had failed Joy." What does she mean?
15. Where do you see Cannie, Joy, Peter, Maxi, Samantha, and Bruce five years after the close of the book? Outline the story arc of a Good in Bed sequel. [The sequel, Certain Girls, was actually published in 2009 —LitLovers.]
16. How well do you relate personally to Cannie's perceptions of life in a culture dominated by the zillion-dollar diet, beauty, and cosmetic surgery industries? How much of yourself and/or your friends do you see in the character of Cannie Shapiro? Do you agree with all of her choices? Relate to all of her motivations? Explain.
(Questions issued by publisher.)
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