During the 2000s, the biographical and self-biographical narratives of the 1970s were replaced by new hybrid forms that operated in the space between fact and fiction. The genre was employed by both male and female authors, but the female authors in particular, were criticized for transgressing the private sphere in exhibitionist ways.Female exponents of autofiction are, amongst others, Maja Lundgren, Carina Rydberg, Suzanne Brøgger, Anne Lise Marstrand-Jørgensen and Herbjørg Wassmo.
Many contemporary women writers appear caught up in a paradox of form: on the one hand, women in contemporary literature create literary aesthetics that navigate the boundaries of genres and forms, and that do so by virtue of the subject matter and themes they work with; on the other hand, women writers are constantly evaluated in relation to relatively traditionally defined norms and expectations.Unless it is a matter of a handful of sanctioned geniuses, the most valuable literary efforts of women are still preferably accorded to their subject matter, which is more than welcome to break taboos and be daring or controversial. The aesthetic value of prose works is rarely associated with the form of the works.
Emergence of a Female Public Arena in Norway