Here's what we found.
Of the 545 books reviewed between June 29, 2008 and Aug. 27, 2010:
—338 were written by men (62 percent of the total)
—207 were written by women (38 percent of the total)
Of the 101 books that received two reviews in that period:
—72 were written by men (71 percent)
—29 were written by women (29 percent)
What does this tell us? These overall numbers pretty well line up with what other studies have found: Men are reviewed in the Times far more often than women. One crucial bit of information missing, of course, is the percentage of all published adult fiction that has been written by men vs. women. As for the double reviews, men seem to get them twice as often as women.
This still does not exactly answer the question Picoult and Weiner have raised. As far as we can tell, they were not complaining about the disparity of reviews allotted to all fiction writers but to the ones that fall in a hazy space somewhere between literary and commercial. "I don't write literary fiction," Weiner explains in an interview. "I write books that are entertaining, but are also, I hope, well-constructed and thoughtful and funny and have things to say about men and women and families and children and life in America today. Do I think I should be getting all of the attention that Jonathan 'Genius' Franzen gets? Nope. Would I like to be taken at least as seriously as a Jonathan Tropper or a Nick Hornby? Absolutely."
Weiner seems most concerned about how we, as a literary culture, draw the boundaries around a certain group of books. Let's call this category zeitgeist fiction—commercial fiction that is for some reason deemed worthy of serious analysis, either because of sales ( Twilight), cultural impact ( Girl with the Dragon Tattoo), or surprisingly spry writing ( High Fidelity). * Weiner and Picoult raise the following question: Is pop fiction written by men more likely to be lifted out of the "disposable" pile, becoming the kind of cultural objects august institutions like the New York Times feel compelled to pay attention to? And are the commercial genres most commonly associated with male writers and readers—science fiction, legal thriller—more likely to be taken seriously than their female equivalents (chick lit, romance novel)? Or as Weiner puts it, would certain male writers—Nick Hornby, Jonathan Tropper, Carl Hiaasen, or David Nicholls—"be considered chick lit writers if they were girls?"
Our tools are not fine-tuned enough to answer these questions. But we invite our readers who are as obsessed as Weiner and Picoult to comb through our list and categorize books by genre, picking out the zeitgeist fiction, and see what they come up with. The full Google doc is here. Anyone who received a double review is in orange print; everyone else is in black. Our hunch is that while Weiner and Picoult chose entirely the wrong targets—Franzen and Shteyngart having just written excellent novels—they might have a point about those chick-lit dudes.
Correction, Sept. 3, 2010: The original version of this article listed Fever Pitch by Nick Hornby as one of his works of fiction. It is nonfiction, so the example was replaced by his clever novel High Fidelity. ( Return to the corrected sentence.)
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