Philadelphia author unearths literary beef & billboard gamble
Emma Copley Eisenberg, known for her unflinching explorations of character and space—from the haunting ‘The Third Rainbow Girl’ to her latest collection ‘Fat Swim’—is shaking up the literary world, and not just with her writing. The author, who’s been meticulously crafting stories since 2014, recently sat down with Vogue to dissect her process, revealing a surprising literary feud, a bold marketing strategy, and a fundamental shift in her approach to storytelling.
From novel to short story collection: a decade in the making
Eisenberg’s journey is anything but straightforward. ‘Fat Swim,’ released just this month, is technically her oldest and newest book simultaneously. She initially envisioned a short story collection, but the evolution—fueled by simultaneous projects like ‘The Third Rainbow Girl’ and ‘Housemates’—led to a dramatically different, richer body of work. “I actually took out a bunch of older stories and wrote all-new ones for this book,” she explained, highlighting a crucial turning point in her creative process.
A literary clash & a bold billboard
The conversation took a sharp turn when Eisenberg addressed her well-publicized disagreement with Jonathan Franzen, sparked by his dismissive phrasing of Marion, the overweight protagonist in ‘Crossroads.’ “He just… he doesn’t see her,” she stated bluntly, describing the moment that galvanized her to write a Marion who was fully embodied and deserving of every angle. This personal conflict fueled a distinctly rebellious impulse, and resulted in a spectacularly unconventional marketing campaign: a billboard in Philadelphia boldly proclaiming, “Your gut is a terrible thing to lose.”
Echoes of the neighborhood & literary influences
Despite the high-profile controversy, Eisenberg’s work remains deeply rooted in the familiar. Her characters inhabit the same Philadelphia neighborhood, appearing and reappearing across multiple stories, creating a rich, interconnected world. She cites influences ranging from Miranda July’s poignant short stories to Raymond Carver’s stark examinations of loneliness, and Bryan Washington’s evocative depictions of Houston. “Where I’m Calling From” by Carver, particularly, resonates with her – a brutal, beautiful portrait of addiction and isolation.
Beyond the algorithm: a human connection
Eisenberg’s billboard strategy—a deliberate rejection of algorithmic curation—speaks to a growing frustration with the curated nature of modern media. “I was just like, wait a second. It just started to feel like this weird contradiction of the body having knowledge, but we’re also destroying and shrinking the body into submission,” she revealed. The deliberate choice of a static, public installation, she explained, was a way to “get to something that doesn’t change and isn’t tailored to a person.”
A powerful, spiteful inspiration
Ultimately, Eisenberg’s story—and her book—are about reclaiming agency and challenging conventional narratives. The billboard isn’t just a promotional stunt; it’s a statement about the importance of seeing, truly seeing, the people around us. And, she admits with a wry smile, “It can be a very powerful thing to write out of spite.”