There is a theory (invented by me) that anything involving Liz Phair is both qualitative and definitive at the same time. The proof is there in ALL of her musical work, every interview of hers I've ever read, and even the manner in which she those writing about her and work have tended to form extreme camps of entrenchment. The one time I saw her live, at the ICA in London: there again. Liz Phair is unashamedly both good and bad (any and all shades of meaning accepted. See my In Defence of Liz Phair for further evidence).
Interview Magazine getting Phair to interview Elizabeth Wurtzel, ahead of a re-issue of Wurtzel's Prozac Nation, was a wonderfully unexpected read: Two Elizabeths, two women who made their name making (mostly) white men feel uncomfortable for the fact that they are white women. Truth be told, I had completely forgotten about Wurtzel, whose second book, Bitch, I have a copy of somewhere. In fact, earlier this year, I wandered into a secondhand bookshop in New York and Bitch stood out, defiantly, prominently positioned on a display shelf. I thought to myself, 'Wow. Yes. Elizabeth Wurtzel.' That was probably the first time I had thought about her in about ten years.