ABSTRACT In March 1971, American women’s magazine McCall’s published an extract of Germaine Greer’s The Female Eunuch. Myriad unpublished letters to the editor contained in the Greer archive at the University of Melbourne reveal that the magazine’s readers were largely dismissive of Greer’s feminist vision. These reader-writers, best conceptualised as ‘anti-fans’, took both author and editor to task for criticising them as wives and mothers. Through an analysis of these letters, this article argues that their authors contested Greer’s burgeoning authority as a second-wave celebrity feminist largely by pathologising her, invoking essentialist assumptions about femininity, and mobilising discourses of ‘choice’ more commonly understood as the product of a ‘postfeminist’ representational environment. Through their anti-fan practices, they challenge Greer’s attempts to deprive housewives of agency, deploying rhetorical strategies that are at once reliant upon and highly critical of second-wave feminism. By complicating dominant ways of framing the feminist past and the postfeminist present, this article demonstrates how celebrity feminists, including ‘blockbuster’ authors, have historically always elicited complex affective responses.

中文翻译：

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“我在女性杂志上读到的最令人反感的想法”：女太监、情感（dis）投资和麦考尔的读者作家

摘要 1971 年 3 月，美国妇女杂志麦考尔刊载了杰梅因·格里尔的《女太监》节选。墨尔本大学格里尔档案中包含的无数未发表的给编辑的信件显示，该杂志的读者在很大程度上对格里尔的女权主义愿景不屑一顾。这些读者-作家，最好被定义为“反粉丝”，他们把作者和编辑都批评为妻子和母亲。通过对这些信件的分析，本文认为，他们的作者主要通过对格里尔进行病态化、援引关于女性气质的本质主义假设以及动员更普遍理解为“选择”的话语，来质疑格里尔作为第二波名人女权主义者的新兴权威。 “后女性主义”的表征环境。通过他们反粉丝的做法，他们挑战格里尔剥夺家庭主妇代理权的企图，部署的修辞策略既依赖又高度批评第二波女权主义。通过将女性主义过去和后女性主义现在的主导方式复杂化，本文展示了名人女权主义者，包括“大片”作者，历来总是引起复杂的情感反应。