"I thought Erica Jong's Fear of Flying was one of the biggest pieces of crap that I've ever read in my life"

In this quote, Helen Reddy provides a blunt and explicit critique of Erica Jong's novel "Fear of Flying". By describing the book as "one of the most significant pieces of crap" she has actually ever read, Reddy reveals an extensive dissatisfaction and displeasure. This comment reflects not just a subjective assessment but also a strong psychological action to the work.

Reddy's option of language-- particularly the expression "most significant pieces of crap"-- suggests an aversion that extends beyond mere frustration. It implies a sense of lost time and engagement, where the pledge of the unique stopped working to meet her expectations. This kind of language shows that Reddy felt disconnected from, and even alienated by, the book's styles, narrative design, or character advancement.

The novel "Fear of Flying", published in 1973, was commemorated for its candid expedition of female sexuality and personal freedom. It became influential during the second-wave feminist motion, resonating with many readers who saw it as an empowering declaration. Nevertheless, its open assessment of intimate topics might be polarizing. Reddy's remark highlights how literature, especially works that push social or cultural boundaries, can generate greatly different actions. What some think about groundbreaking and liberating, others may deem overwrought or questionable.

Furthermore, Reddy's statement may also mean wider social or individual viewpoints. As a public figure known for her contributions to music and feminist activism, bypassing traditional literary praise indicates a desire to hold divergent opinions, even versus commonly recognized works within feminist circles. It highlights the multiplicity of feminist thought and how art and literature are interpreted through different personal, social, and cultural lenses.

In essence, Reddy's quote underscores the subjective nature of literature and criticism, showing personal tastes and point of views, along with the broader conversation about women's literature and its influence on private readers. While her statement is dismissive, it also enhances the idea that every reader brings special experiences and expectations to their analysis of a text.