The Transvestite's Daughter and The Legate's Daughter ?

The Sperm-donor and the Storyteller?
Now I can't get "Coal Miner's Daughter" out of my head.

the squire and the piano man

I'm going with "legate" and "pope". (Thanks to you, I just read The Information and I know what a legate is.)

Transvestite's Daughter and Poet's Daughter are the ones I made up. The others are all novels listed on Amazon.

Rachel -- what did you think of The Information?

You missed one of my favorites, "The Bookmaker's Daughter," another memoir by the great writer of "Womenfolks." (Do take a look at "Womenfolks,"if you don't know it.)

I wonder if "The ___'s Child" would lead to more hits than "The ____'s Son"? And I'm still puzzling over the reasons the Daughters are so much more common.

Back in the 80's I read "The Bishop's Daughter" by Ray Russell (would be worth rereading if only I could find it)
I vote for Transvestite and Sperm Donor.

Robyn -- I restricted the search to fiction, which is probably why the memoir didn't show up.

My guess on the prevalence of -daughter- titles (and lack of -son- titles) is that it has to do with that fact that historically, daughters are perceived as long-term possessions (and liabilities). The old chestnut: a son's a son until he gets him a wife, a daughter's a daughter for all of her life. A daughter is passed like a commodity from father to husband and then in old age, into the care of a son.

In theory, at least.

Lisa-- Sperm-Donor is actually a novel. I know the author. Transvestite is one of mine, you're right there.

For your amusement: Elizabeth Bear's random fantasy title generator.

I wonder if the author's gender has anything to do with it? (Of course women can write men's POV and men can write women's POV, but I'm curious to see if the majority of the books you listed were authored by females.)

I had mixed feelings about The Information. On the one hand, I liked Amis' wordy writing style; on the other, I got really tired of the guy's random use of ellipses. I would actually cover one with my finger when I saw it coming. It saved me throwing the book across the room after the thirtieth one or so (Rosina:exclamation points::Rachel:ellipses). It was, as you mentioned, a thought-provoking look at the human ego, especially the writer's ego, especially the male writer's ego; however, I found the lapses into attempted literary depth to be a bit disconcerting. It was like he didn't know if he was writing a dark comedy, a witty semi-biographical exposé on the writing mind, a soap opera for men, or a deep literary novel. What he ended up with seemed to be all four. I'd say overall that it worked.

Sara G-- good question. I didn't pay any attention, but I can go back and see how the author's sex distributes.

Rachel -- pretty much my take on the novel too. Although looking back on it, a few very strong images stand out for me still.

-- the way he described the hard cover edition of the novel, the awful fabric that snagged the skin so that you wouldn't want to hold onto it;

--his thoughts on Middlemarch (Dorothea and Casaubon: like feeding a raw oyster into a parking meter coin slot) -- I still giggle when I think of that;

--the newspaper stunt

--the surreal nature of his booktour