Until this point, the question of gender in recent German musicocentric literature has remained a critical but under-illuminated aspect. One might assume from the tenor of the novels I examined in chapter 4 that it was male writers who were predominantly interested in reflecting on popular music or “realizing” its aesthetics. After all, a major trope in novels like the Weiberroman—actually a “men's novel”—is that rock is a domain in which a young postadolescent male may gain some form of compensation for his lack of success with the opposite sex. To a large extent it was male writers who were most prominent in the field of musico-centric literature, yet they have not been the only ones. To suggest otherwise would misrepresent the breadth of contemporary German literature. Just as the second half of the 1990s saw the emergence or consolidation of many younger male writers’ careers, various commentators also observed a so-called literarisches Fräuleinwunder (literary girls’ rush). There were some younger female novelists who wrote about popular music consumption. They included, for example, Alexa Hennig von Lange, whose 1997 novel, Relax, took its title from a song and portrayed a dysfunctional young couple and their asymmetrical attachment to the nightclubbing lifestyle. (The man is the one who goes nightclubbing; his female partner stays home and frets.)