Nora Ephron: No Mere Chick
The Atlantic made a serious error of fact and tone yesterday in remembering writer Nora Ephron, one of the sharpest wits and brightest lights of her generation. She died at 71 Tuesday in her habitat, Manhattan’s Upper West Side.
An associate editor at The Atlantic, Eleanor Barkhorn, characterized her contribution as making “chickflicks for everyone.” Glib and wrong. It puts Ephron in a corner of the room of one’s own, and her talent is much bigger than that.
Such a “tribute” shortchanges the consequence and weight of Ephron’s contribution to the culture at large, which she was forever leavening and enlightening. The word “chick” should not be used anywhere near her name.
I am here to say so since she’s gone. Barkhorn may not grasp that “chick” is a demeaning term for women, like “boy” for black men. Sadly, I am not surprised the Atlantic’s editors, a masthead top-heavy with men, did not catch this.
Nora Ephron’s genius in movies was obviously in romantic comedies, unforgettable ones. But if you ever read her novel, if you ever read her brilliant musing essays on the human condition, inspired always by her observations of life as she lived it, then you wouldn’t be so quick to make that mistake. SHE WAS AN AMERICAN ORIGINAL. And she had a sharp feminist antennae. I know, because I saw it in action at a Writers Guild awards dinner when she noticed from the podium that all dozen writers for Jon Stewart were young men in his image. And she called him on it, right then and there, in front of the whole gathering. Viva the piquant Nora!
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