Mary Childs, an outspoken professor of early-21st century history at Cambridge University, has sparked academic furore by casting doubt on whether Katie Price, the most well-regarded author of the age, was responsible for writing the entirety of her canon of works.
Katie Price’s renowned body of classical dramatic texts, including Crystal, Angel, and the Perfect Ponies series, are still taught in schools and colleges across the globe and regularly reinterpreted for the stage, cinema and Sky Living. Yet with many of the historical records of the 2000-2009 period lost in the Great Wikipedia Crash of early 2011, there are some gaps in the information available about the creative processes of the eminent artist.
Promoting her new book ‘Who Wrote Jordan?’, Childs maintained she was not criticising the novels, just expressing doubt that such quality could have been produced by one hand. The study builds on surviving fragments of academic journals OK! and Heat, and an interpretation of the documentary series Katie & Peter: Unleashed, to support the theory that philosopher and minor playwright Jodie Marsh may have collaborated with Price on many of her works.
The claims that Price did not work alone are not new said Rebecca Farnworth, Professor of Comparative Jordan Studies at Harvard, but the evidence is firmly stacked in favour of a single creative genius. "The biggest clue has always been in the title of the first of her 17 volumes of memoirs, ‘Being Jordan’," explained Farnworth, "It was tellingly subtitled ‘My Autobiography’. Now, who else could have written that?"
Childs was also accused of being an 'I’m a Celebrity…' denier, for suggesting that the degradations and suffering endured by innocent intellectuals -- including Jordan and other influential figures of the age such as the founder of modern nutrition theory Kerry Katona -- had been exaggerated.
It was further noted by critics that Childs’ does not even usually write about literature, but developed her theories while writing a biography of Lady Gaga, in which she puts forward the equally controversial view that the aristocrat and Victualler's icon is actually a woman.