Katha Pollitt is well known for her wit and her keen sense of both the ridiculous and the sublime. Her “Subject to Debate” column, which debuted in 1995 and which the Washington Post called “the best place to go for original thinking on the left,” appears every other week in The Nation; it is frequently reprinted in newspapers across the country. In 2003, “Subject to Debate” won the National Magazine Award for Columns and Commentary. She is also a Puffin Foundation Writing Fellow at The Nation Institute.
Pollitt has been contributing to The Nation since 1980. Her 1992 essay on the culture wars, “Why We Read: Canon to the Right of Me…” won the National Magazine Award for essays and criticism, and she won a Whiting Foundation Writing Award the same year. In 1993 her essay “Why Do We Romanticize the Fetus?” won the Maggie Award from the Planned Parenthood Federation of America.
Many of Pollitt’s contributions to The Nation are compiled in three books: Reasonable Creatures: Essays on Women and Feminism (Knopf); Subject to Debate: Sense and Dissents on Women, Politics, and Culture (Modern Library); and Virginity or Death! And Other Social and Political Issues of Our Time (Random House). In 2007 Random House published her collection of personal essays, Learning to Drive and Other Life Stories. Two pieces from this book, “Learning to Drive” and its followup, “Webstalker,” originally appeared in The New Yorker. “Learning to Drive” is anthologized in Best American Essays 2003.
Pollitt has also written essays and book reviews for The New Yorker, The Atlantic, The New Republic, Harper’s, Ms., Glamour, Mother Jones, the New York Times, and the London Review of Books. She has appeared on NPR’s Fresh Air and All Things Considered, Charlie Rose, The McLaughlin Group, CNN, Dateline NBC and the BBC. Her work has been republished in many anthologies and is taught in many university classes.
For her poetry, Pollitt has received a National Endowment for the Arts grant and a Guggenheim Fellowship. Her 1982 book Antarctic Traveller won the National Book Critics Circle Award. Her poems have been published in many magazines and are reprinted in many anthologies, most recently The Oxford Book of American Poetry (2006). Her second collection, The Mind-Body Problem, came out from Random House in 2009.
Born in New York City, she was educated at Harvard and the Columbia School of the Arts. She has lectured at dozens of colleges and universities, including Harvard, Yale, Princeton, Brooklyn College, UCLA, the University of Mississippi and Cornell. She has taught poetry at Princeton, Barnard and the 92nd Street Y, and women’s studies at the New School University.
Last night I finally saw Knocked Up, Judd Apatow's hilarious new movie, a raunchfest with a family-values core --- carrying on with accidental pregnancies, marriage as responsible adulthood, staying together for the sake of the kids. I'm not going to get into that here, except to second Dana Stevens' great piece in Slate on Hollywood and TV's cowardice about abortion (referred to in Knocked Up by the hero's slacker roommate as "rhymes with shmashmortion" and, by the heroine's ice-cold mother, as "taking care of it").
As she points out, legions of single women in their twenties who get pregnant accidentally like Alison (Katherine Heigl) or Jenna (Keri Russell) in Waitress, have abortions; on the big or small screen, they have miscarriages or babies. In the movies, I might add, accidental babies solve the very issues (men, work, money, dreams) that, in real life, they often worsen. Jenna gives birth, dumps her abusive ox of a husband, wins the baking contest he'd barred her from entering and opens her own pie diner. Alison falls in love with Ben (Seth Rogen), her one-night drunken stand, and, after spending the whole movie hiding her pregnancy to keep her celebrity-reporting job at E!, gets outed -- and promoted. Pregnancy polls really well-- who knew?
Actually, though, the real subject of Knocked Up is the immaturity of men: only under the most desperate circumstances will they put aside their bongs, or their porn, or their even more idiotic friends. If a woman had made this movie she'd be labelled a total man-hater: there isn't one man in it who isn't basically a teenager. But a woman never would have made this movie, because women don't have the fantasy in which willowy creamy world-class beauties like Alison, with brains, great clothes, and tons of self-confidence in bed and out of it, go for men like Ben (Seth Rogen), who is not only an unemployed and underbathed stoner with no ambitions and no visible means of support, but physically unattractive to an alarming degree. A real-life Alison wouldn't have spent one night in his filthy teenage-boy lair of a bedroom, or hung out for one evening with his uber-slacker friends . I'll give you that she might have called him when she discovered she was pregnant-- but offer to entwine herself in coparenting for life with a one-night stand she couldn't even get through breakfast with the next morning? Invite this virtual stranger to all her prenatal checkups? I didn't even invite my husband!
I was planning to start this blog by writing about The New York Times Sunday Magazine's special issue on income inequality -- Larry Summers (him again!), John Edwards, class conflict on Fisher Island and much more. But a practical instance of what true poverty means was waiting for me in my inbox this morning, in the form of an email from Heather Robertson of the Equal Access Fund of Tennessee, which helps poor women pay for their abortions. Heather writes:
"I just received a very desperate plea from a local clinic for funding for a patient that I will be unable to help. Our fund has assisted 5 women this month and after giving this woman $200, we have depleted our funds without completely helping her at all. Please read further:
"We need $400 more in order to pay the fee $850 fee of a 2nd trimester patient who HAS to be seen tomorrow, or she'll be too far along to be seen in the state of Tennessee. In that case, her fee will increase even more and have to pay the traveling expenses, as well.