At the 2008 Cairo International Book Fair, respected Egyptian publishing house Dar El Shorouk introduced the Arabic-speaking world to three books adapted from blogs written by Egyptian women: Urz bil-labn li-shakhsayn (Rice Pudding for Two) by Rehab Bassam, ‘Ayzah ’atgawwiz (I Want to Get Married) by Ghada Abdel Aal, and ’Ama hadhihi fa-raqa?t? ’an? (As for This One, It’s My Dance) by Ghada Mohamed Mahmoud. This paper provides a meta-literary and literary analysis of the three popular books in relation to their original blogs with special attention to issues of gender and genre. Specifically, I examine shifts in genre that took place as the three original blogs were transformed from ever-changing near-dialogues between author and reader embedded in the meta-text of readers’ comments, into the fixed text of hardcopy books designed, marketed and distributed by a third party. Dar El Shorouk emphasizes the books’ connection to the blogging world in its conscious labeling of these three books, along with two others published subsequently as part of the series, as a new genre distinct from traditional literary genres: mudawwana. By omitting the word adab in its categorization of these texts, Dar El Shorouk shows its hesitation to place these texts on equal footing with traditional and mainstream modern Arabic literature; however, the publishing house also simultaneously creates a new, undefined space between traditional adab, which appears most often as published books, and blogs. I preface my discussion with previous arguments that use convincingly Habermas’ conception of the public sphere and Nancy Fraser’s feminist critique of Habermas to analyze emerging trends and conclude that there is a presence of multiple, overlapping counterpublics and subaltern counterpublics in the Middle East and North African blogosphere (Eickelman and Anderson 2003; Skalli 2006; Elsadda 2010). I complicate these previous arguments by asserting that blogs should not be juxtaposed with their book counterparts; rather, the two formats create distinct counterpublics that therefore have distinct influences on their audiences and on genre categorization. Close analysis of these texts as books and blogs undermines critics’ attempts to confine these works to a single genre and explores how the texts give voice to some of the frequently overlooked or oversimplified problems facing women in Egypt. By writing openly, Bassam, Mahmoud and Abdel Aal write in a transgressive manner and create productive counterpublics in cyberspace that extend to mainstream literary circles following the texts’ publication by Dar El Shorouk.