A growing trend in the literary world involves readers deliberately engaging with books they expect to dislike, a practice often referred to as "hate-reading." This phenomenon has gained attention amid the popularity of several recent novels and memoirs—many authored by women—that have sparked heated, polarized reactions.
The term "hate-reading" describes the act of consuming a book with the intent to criticize or deride it, often fueled by strong emotional responses such as anger or frustration. Critics argue that some authors appear to embrace this dynamic, writing or marketing their work with an awareness of the hostile attention it may attract. For instance, memoirist Lindy West has humorously acknowledged that her book “Adult Braces” serves as an ideal “hate-read” gift, allowing detractors to mock the work without purchasing it. Similarly, Caro Claire Burke’s novel “Yesteryear” centers on a tradwife influencer who thrives on the animosity of “angry women” who follow her, a concept that has resonated strongly in the book’s reception.
Readers of “Yesteryear” have described a conflicted experience. Natalie Freeman of Charlotte, North Carolina, expressed simultaneous rage and fascination, noting that the book’s intended provocation is a “masterful trick” by the author. Dinah Susan Alobeid of New Jersey echoed this sentiment, admitting she did not necessarily enjoy the book but was drawn to its lively discourse and finished it quickly. The novel’s bestseller status underscores how both fans and detractors have contributed to its commercial success.
Observers suggest that hate-reading can be motivated by a desire to participate in cultural conversations, even when those discussions involve questioning why a book was published in the first place. Author Leigh Stein characterizes hate-reading as a means for readers to be part of a broader dialogue, despite their criticism. Social media platforms have further amplified this trend, with algorithms often rewarding extreme viewpoints and creating cycles of both enthusiastic endorsements and backlash. For example, the young adult novels of Colleen Hoover have inspired devoted fan reactions as well as substantial online mockery, each driving significant engagement.
While some readers experience hate-reading primarily as a source of entertainment or emotional release, others find a surprising intellectual benefit. Research indicates that many Americans read relatively few books annually, yet some avid readers use hate-reading as a motivating force, fueling their engagement with literature by provoking strong responses, positive or negative.
Podcast hosts Conor Lastowka and Michael J. Nelson have made a practice of reading books they anticipate disliking, providing critiques that mix humor with insight. Their approach focuses less on ridicule and more on constructive commentary, highlighting both the strengths and shortcomings of their chosen texts.
Academics also recognize the value of hate-reading from a critical perspective. Anna Muenchrath, an English professor, suggests that reading with suspicion and disagreement encourages readers to articulate their own viewpoints and deepen their understanding of literature. Hate-reading can thus serve as a form of active, critical engagement rather than mere dismissal.
Additionally, hate-reading functions as a way for some to resist algorithm-driven cultural consumption patterns. By intentionally seeking books they expect to dislike, readers can disrupt the familiar cycle of personalized recommendations and broaden their exposure to diverse perspectives.
In sum, hate-reading encompasses a complex set of motivations and outcomes, blending elements of cultural critique, emotional expression, and participatory discourse in contemporary literary culture.