Routledge Library Editions: Women, Feminism and Literature – serie

How do women writers use science fiction to challenge assumptions about the genre and its representations of women?To what extent is the increasing number of women writing science fiction reformulating the expectations of readers and critics?What has been the effect of this phenomenon upon the academic establishment and the publishing industry?These are just some of the questions addressed by this collection of original essays by women writers, readers and critics of the genre. But the undoubted existence of a recent surge of women’s interest in science fiction is by no means the full story. From Mary Shelley onwards, women writers have played a central role in the shaping and reshaping of this genre, irrespective of its undeniably patriarchal image. Through a combination of essays on the work of writers such as Doris Lessing and Ursula Le Guin, with others on still-neglected writers such as Katherine Burdekin and C. L. Moore and a wealth of contemporaries including Suzette Elgin, Gwyneth Jones, Maureen Duffy and Josephine Saxton, this anthology takes a step towards redressing the balance.Perhaps, above all, what this collection demonstrates is that science fiction remains as particularly well-suited to the exploration of woman as ‘alien’ or ‘other’ in our culture today, as it was with the publication of Frankenstein in 1818.

This collection of new feminist essays represents the work of young critics researching and teaching in British Universities. Aiming to set the agenda for feminist criticism in the nineties, the essays debate themes crucial to the development of feminist thought: among them, the problems of gendered knowledge and the implications of accounts of gendered language, cultural restraints on the representation of sexuality, women’s agency, cultural and political change, a feminist aesthetics and new readings of race and class. This variety is given coherence by a unity of aim – to forge new feminist discourses by addressing conceptual and cultural questions central to problems of gender and sexual difference.The topics of discussion range from matrilinear thought to seventeenth-century prophecy; the poetry of Amelia Lanyer to Julia Margaret Cameron’s photographs; from Dorothy Richardson and Virginia Woolf to eighteenth-century colonial painting of the South Pacific; from medieval romance to feminist epistemology. The essays utilise and question the disciplines of literary criticism, art history, photography, psychoanalysis, Marxist history and post-structuralist theory.

This innovative collection of contemporary essays in feminist literary criticism provides a spectrum of approaches and positions, united by their common focus on writing by and about women. Spanning the novel, poetry, drama, film and criticism, the contributors emphasise some of the problems of theory and practice posed by writing as a woman and by women’s representation in literature. The subjects of individual essays range from the nineteenth and twentieth century novel to avant-garde film, and from Victorian women poets to Russian women poets of today. Drawing on disciplines as diverse as structuralism, psychoanalysis, semiotics, socio-linguistics and Marxist analyses of literature, the essays suggest the variety and vigour of contemporary feminist literary criticism, as well as representing some of the debates currently animating it. Topics of common concern range from the nature of a women’s tradition in literature to the scope and method of feminist literary criticism itself.Successfully bridging the gap between literary criticism and literary production, the scope of this collection will be of considerable interest to those concerned with current developments in literary criticism as well as to those in the field of women’s studies.

This collection of essays, both feminist and historical, analyzes power relations between men and women in the Victorian period. This volume is the first to reshape Victorian studies from the perspective of the postmodern return to history, and is variously influenced by Marxism, sociology, anthropology, and post-structuralist theories of language and subjectivity. It analyzes the struggle for legitimacy and recognition in Victorian institutions and the struggle over meanings in ideological representation of the gendered subject in texts.Contributors cover diverse topics, including Victorian ideologies of motherhood, the male gaze, the cult of the male child genius in narrative painting, the press, and Victorian women and the French Revolution, discussing both well-known and less familiar Victorian texts.

‘Postmodernism’ and ‘feminism’ have become familiar terms since the 1960s, developing alongside one another and clearly sharing many strong points of contact. Why then have the critical debates arising out of these movements had so little to say about each other? Patricia Waugh addresses the relationship between feminist and postmodernist writing and theory through the insights of psychoanalysis and in the context of the development of modern fiction in Britain and America. She attempts to uncover the reasons why women writers have been excluded from the considerations of postmodern art.Her route takes her through the theorization of self offered by Freud and Lacan and on to the concept of subjectivity articulated by Kleinian and later object-relations psychoanalysts. She argues that much women’s writing has been inappropriately placed and interpreted within a predominantly formalist-orientated aesthetic and a post-Freudian/liberal, individualist conceptualization of subjectivity and artistic expression. This tendency has been intensified in discussions of postmodernism, and a new feminist aesthetic is thus badly needed.In the second part of the book Patricia Waugh analyses the work of six ‘traditional’ and six ‘experimental’ writers, challenging the restrictive definitions of ‘realist’, ‘modernist’, ‘postmodernist’ in the light of the theoretical position developed in part one. Authors covered include: Woolf (viewed as a postmodernist ‘precursor’ rather than a ‘high’ modernist), Drabble, Tyler, Plath, Brookner, Paley, Lessing, Weldon, Atwood, Walker, Spark, Russ, and Piercy.

Jane Gallop’s book offers a clear-eyed and comprehensive history of feminist literary criticism. Why, she asks, have we so quickly buried 1970s feminist criticism? What lies buried there? Why do 1990s academic feminists accuse other academic feminists of being ‘academic’?Gallop takes the novel approach of structuring her inquiry around anthologies of feminist criticism: twelve important texts that have had a wide impact on more than a decade of scholarship. In reading an anthology as a whole, she typically identifies a central, hegemonic voice (usually that of the editor/s) which would organise all the voices into a unity, and then explores the resistance within that volume to such a unity. Weight is placed behind these internal differences as a wedge against the centrist drive.Around 1981 addresses briefly ‘french feminism’ and psychoanalytic feminism before focusing on its principal subject: the mainstream of feminist literary criticism, before and after its general acceptance as part of the changing institution of literary studies. This brilliantly illuminates the dilemma of the feminist critic, divided by her allegiance to both feminism and literary studies.

This volume begins with a new essay by Julia Kristeva, ‘The Adolescent Novel’, in which she examines the relation between novelistic writing and the experience of adolescence as an ‘open structure’. It is this blend of the literary with the psychoanalytic that places Kristeva’s work central to current thinking, from semiotics and critical theory to feminism and psychoanalysis.The essays in this volume offer insight into the workings of Kristeva’s thought, ranging from her analyses of sexual difference, female temporality and the perceptions of the body to the mental states of abjection and melancholia, and their representation in painting and literature.Kristeva’s persistent humanity, her profound understanding of the dynamics of intention and creativity, mark her out as one of the leading theoreticians of desire. Each essay offers the reader a new insight into the many aspects that make up Kristeva’s entire oeuvre.

Recent years have witnessed important new initiatives in the study of popular fictional modes of writing. At one time the field could have been described with reasonable accuracy by two traditions: one that analyzed the production and distribution of popular fiction as commodities; and one whose proponents regarded popular fiction as the negative which offered definition to the exposure of the positive - the ‘great’ canonic literary tradition. Generally, then, popular fictions were to be ‘evaluated’ according to the institutionalized norms which had been established as common sense practice around literary studies. The decade of the 1970s, however ushered in a bewildering range of theoretical debates - a crucial gain was establishment of interdisciplinary courses in communication, cultural and media studies, providing a network of contexts within which serious analysis could evolve and progress. Responding to a fundamental challenge from feminism, a primary objective of this book is to propose that all narrative and its reading are intrinsically inflected by sexual politics. Various approaches represented here demonstrate problems of confronting the gendered pleasures of reading. Questions about self, sexuality and identity within specific historical formations are raised. The objective is to frame, describe and unearth the notion of ‘men as readers’ as a project rather than as the usual, unquestioned normative procedure.Drawing eclectically upon Marxist, psychoanalytic and discourse theory, the essays set out readings of popular texts and genres – the Western, the sentimental novel, detective and crime fiction, political thrillers and horror and science fiction – in the interest of provoking other readers to see the critical study of popular fiction as unthinkable without gender as a central concern.

Over the past several years, the question of men’s relation to feminism has become a fiercely and sometimes bitterly debated subject. Engendering Men demonstrates the creative impact that feminist modes of inquiry have already had on a new generation of male critics.In the wake of feminism, many men have found it imperative to begin the task of retheorizing the male position in our culture. This collection of new essays brings together seventeen male critics whose work – on poetry, fiction, the Broadway stage, film and television, and broader cultural and psychoanalytic texts – is opening up new avenues in criticism, as well as in gender and feminist theory.

These twenty autobiographical essays by eminent feminist literary critics explore the process by which women scholars became feminist scholars, articulating the connections between the personal and political in their lives and work. They describe the experiences that radicalised women within academia and without, as students, professors, scholars, political activists, women. From these diverse histories a collective history emerges of the development of feminism as an intellectual and social movement, as a heuristic tool, as the redefinition of knowledge and power.This book presents a history of the field through the eyes of those who have created it. Offering a spectrum of experiences and critical positions that engage with current debates in feminism, it will be valuable to teachers and students of feminist theory, women’s studies, and the history of the women’s movement. It will interest female writers and scholars in all disciplines and anyone who cares about feminism and its future.

Focusing on the ways in which female novelists have, in their creative work, challenged or scrutinised contemporary assumptions about their own sex, this book's critical interest in women’s fiction shows how mid-nineteenth-century women writers confront the conflict between the pressures of matrimonial ideologies and the often more attractive alternative of single or professional life. In arguing that the tensions and dualities of their work represent the honest confrontation of their own ambivalence rather than attempted conformity to convention, it calls for a fresh look at patterns of imaginative representation in Victorian women’s literature.Making extensive use of letters and non-fiction, this study relates the opinions expressed there to the themes and methods of the fictional narratives. The first chapter outlines the social and ideological framework within which the authors were writing; the subsequent five chapters deal with the individual novelists, Craik, Charlotte Bronté, Sewell, Gaskell, and Eliot, examining the works of each and also pointing to the similarities between them, thus suggesting a shared female ‘voice’.Dealing with minor writers as well as better-known figures, it opens up new areas of critical investigation, claiming not only that many nineteenth-century female novelists have been undeservedly neglected but also that the major ones are further illuminated by being considered alongside their less familiar contemporaries.

Until about 1986, feminists generally considered modernism a reactionary, misogynist, and hegemonic mire not worth investigating. Since then enough studies of modernism have appeared that 17 feminist critics can now review and debate their treatment of the period. They evaluate the progress and goals of the new era of modernist scholarship.As the authors in this volume suggest, instead of condemning writers for not practicing or portraying an acceptable politics of gender, we ought instead to show how their assumptions about the nature of the sexes inform their texts, both in their creation and in their reception. This also allows examination of the complex and changing relationship between human subjectivity and aesthetics.This volume is a highly reflective dialogue, introspective and evaluative, at a moment of crisis within modernist studies and feminist studies. The analysis of critical work on early-twentieth-century literature not only helps reread and redefine a definition of modernism; it also intends to redirect and reintegrate feminist theory.

What is the relationship between feminist critical theory and literature?This book deals with the relationship between women and writing, mothers and daughters, the maternal and history. It addresses the questions about language, writing and the relations between women which have preoccupied the three most influential French feminists and three important contemporary British women novelists. Treating both fiction and theory as texts, she traces the connections between the theorists – Hélène Cixious, Luce Irigaray and Julia Kristeva – and the novelists – Doris Lessing, Angela Carter and Muriel Spark.This reading of the work of these six major women writers explores new forms of women’s identity, subjectivity and narrative and demonstrates how theoretical and literary texts can illuminate each other to bridge the gap between theory and literary criticism.

An annotated bibliography on women who wrote fiction in the US during the period 1790-1870. The first part is an annotated list of sources that discuss women's fiction in the period and women authors born before 1840 who published before 1870. The second part is an alphabetical list of the approximately 325 19th century writers who meet those criteria. There are indexes by pseudonym, editor, and subject. The sources provide information not only about the individual authors but also about the history of criticism and literary politics, especially women's place in the American literary canon.

Before about 1840, there was little prestige attached to the writing of novels, and most English novelists were women. By the turn of the twentieth century, "men of letters" acclaimed novels as a form of great literature, and most critically successful novelists were men. In the book, sociologist Gaye Tuchman examines how men succeeded in redefining a form of culture and in invading a white-collar occupation previously practiced mostly by women.Tuchman documents how men gradually supplanted women as novelists once novel-writing was perceived as potentially profitable, in part because of changes in the system of publishing and rewarding authors. Drawing on unusual data ranging from the archives of Macmillan and company (London) to an analysis of the lives and accomplishments of authors listed in the Dictionary of National Biography, she shows that rising literacy and the centralization of the publishing industry in London after 1840 increased literary opportunities and fostered men’s success as novelists. Men redefined the nature of a good novel and applied a double standard in critically evaluating literary works by men and by women. They also received better contracts than women for novels of equivalent quality and sales. They were able to accomplish this, says Tuchman, because they were to a large extent the culture brokers – the publishers, publishers’ readers, and reviewers of an elite art form.Both a sociological study of occupational gender transformation and a historical study of writing and publishing, this book will be a rich resource for students of the sociology of culture, literary criticism, and women’s studies.

How do women writers use science fiction to challenge assumptions about the genre and its representations of women?To what extent is the increasing number of women writing science fiction reformulating the expectations of readers and critics?What has been the effect of this phenomenon upon the academic establishment and the publishing industry?These are just some of the questions addressed by this collection of original essays by women writers, readers and critics of the genre. But the undoubted existence of a recent surge of women’s interest in science fiction is by no means the full story. From Mary Shelley onwards, women writers have played a central role in the shaping and reshaping of this genre, irrespective of its undeniably patriarchal image. Through a combination of essays on the work of writers such as Doris Lessing and Ursula Le Guin, with others on still-neglected writers such as Katherine Burdekin and C. L. Moore and a wealth of contemporaries including Suzette Elgin, Gwyneth Jones, Maureen Duffy and Josephine Saxton, this anthology takes a step towards redressing the balance.Perhaps, above all, what this collection demonstrates is that science fiction remains as particularly well-suited to the exploration of woman as ‘alien’ or ‘other’ in our culture today, as it was with the publication of Frankenstein in 1818.

This collection of new feminist essays represents the work of young critics researching and teaching in British Universities. Aiming to set the agenda for feminist criticism in the nineties, the essays debate themes crucial to the development of feminist thought: among them, the problems of gendered knowledge and the implications of accounts of gendered language, cultural restraints on the representation of sexuality, women’s agency, cultural and political change, a feminist aesthetics and new readings of race and class. This variety is given coherence by a unity of aim – to forge new feminist discourses by addressing conceptual and cultural questions central to problems of gender and sexual difference.The topics of discussion range from matrilinear thought to seventeenth-century prophecy; the poetry of Amelia Lanyer to Julia Margaret Cameron’s photographs; from Dorothy Richardson and Virginia Woolf to eighteenth-century colonial painting of the South Pacific; from medieval romance to feminist epistemology. The essays utilise and question the disciplines of literary criticism, art history, photography, psychoanalysis, Marxist history and post-structuralist theory.

Over the past several years, the question of men’s relation to feminism has become a fiercely and sometimes bitterly debated subject. Engendering Men demonstrates the creative impact that feminist modes of inquiry have already had on a new generation of male critics.In the wake of feminism, many men have found it imperative to begin the task of retheorizing the male position in our culture. This collection of new essays brings together seventeen male critics whose work – on poetry, fiction, the Broadway stage, film and television, and broader cultural and psychoanalytic texts – is opening up new avenues in criticism, as well as in gender and feminist theory.

This volume begins with a new essay by Julia Kristeva, ‘The Adolescent Novel’, in which she examines the relation between novelistic writing and the experience of adolescence as an ‘open structure’. It is this blend of the literary with the psychoanalytic that places Kristeva’s work central to current thinking, from semiotics and critical theory to feminism and psychoanalysis.The essays in this volume offer insight into the workings of Kristeva’s thought, ranging from her analyses of sexual difference, female temporality and the perceptions of the body to the mental states of abjection and melancholia, and their representation in painting and literature.Kristeva’s persistent humanity, her profound understanding of the dynamics of intention and creativity, mark her out as one of the leading theoreticians of desire. Each essay offers the reader a new insight into the many aspects that make up Kristeva’s entire oeuvre.

Focusing on the ways in which female novelists have, in their creative work, challenged or scrutinised contemporary assumptions about their own sex, this book's critical interest in women’s fiction shows how mid-nineteenth-century women writers confront the conflict between the pressures of matrimonial ideologies and the often more attractive alternative of single or professional life. In arguing that the tensions and dualities of their work represent the honest confrontation of their own ambivalence rather than attempted conformity to convention, it calls for a fresh look at patterns of imaginative representation in Victorian women’s literature.Making extensive use of letters and non-fiction, this study relates the opinions expressed there to the themes and methods of the fictional narratives. The first chapter outlines the social and ideological framework within which the authors were writing; the subsequent five chapters deal with the individual novelists, Craik, Charlotte Bronté, Sewell, Gaskell, and Eliot, examining the works of each and also pointing to the similarities between them, thus suggesting a shared female ‘voice’.Dealing with minor writers as well as better-known figures, it opens up new areas of critical investigation, claiming not only that many nineteenth-century female novelists have been undeservedly neglected but also that the major ones are further illuminated by being considered alongside their less familiar contemporaries.

Jane Gallop’s book offers a clear-eyed and comprehensive history of feminist literary criticism. Why, she asks, have we so quickly buried 1970s feminist criticism? What lies buried there? Why do 1990s academic feminists accuse other academic feminists of being ‘academic’?Gallop takes the novel approach of structuring her inquiry around anthologies of feminist criticism: twelve important texts that have had a wide impact on more than a decade of scholarship. In reading an anthology as a whole, she typically identifies a central, hegemonic voice (usually that of the editor/s) which would organise all the voices into a unity, and then explores the resistance within that volume to such a unity. Weight is placed behind these internal differences as a wedge against the centrist drive.Around 1981 addresses briefly ‘french feminism’ and psychoanalytic feminism before focusing on its principal subject: the mainstream of feminist literary criticism, before and after its general acceptance as part of the changing institution of literary studies. This brilliantly illuminates the dilemma of the feminist critic, divided by her allegiance to both feminism and literary studies.

This innovative collection of contemporary essays in feminist literary criticism provides a spectrum of approaches and positions, united by their common focus on writing by and about women. Spanning the novel, poetry, drama, film and criticism, the contributors emphasise some of the problems of theory and practice posed by writing as a woman and by women’s representation in literature. The subjects of individual essays range from the nineteenth and twentieth century novel to avant-garde film, and from Victorian women poets to Russian women poets of today. Drawing on disciplines as diverse as structuralism, psychoanalysis, semiotics, socio-linguistics and Marxist analyses of literature, the essays suggest the variety and vigour of contemporary feminist literary criticism, as well as representing some of the debates currently animating it. Topics of common concern range from the nature of a women’s tradition in literature to the scope and method of feminist literary criticism itself.Successfully bridging the gap between literary criticism and literary production, the scope of this collection will be of considerable interest to those concerned with current developments in literary criticism as well as to those in the field of women’s studies.

These twenty autobiographical essays by eminent feminist literary critics explore the process by which women scholars became feminist scholars, articulating the connections between the personal and political in their lives and work. They describe the experiences that radicalised women within academia and without, as students, professors, scholars, political activists, women. From these diverse histories a collective history emerges of the development of feminism as an intellectual and social movement, as a heuristic tool, as the redefinition of knowledge and power.This book presents a history of the field through the eyes of those who have created it. Offering a spectrum of experiences and critical positions that engage with current debates in feminism, it will be valuable to teachers and students of feminist theory, women’s studies, and the history of the women’s movement. It will interest female writers and scholars in all disciplines and anyone who cares about feminism and its future.

Recent years have witnessed important new initiatives in the study of popular fictional modes of writing. At one time the field could have been described with reasonable accuracy by two traditions: one that analyzed the production and distribution of popular fiction as commodities; and one whose proponents regarded popular fiction as the negative which offered definition to the exposure of the positive - the ‘great’ canonic literary tradition. Generally, then, popular fictions were to be ‘evaluated’ according to the institutionalized norms which had been established as common sense practice around literary studies. The decade of the 1970s, however ushered in a bewildering range of theoretical debates - a crucial gain was establishment of interdisciplinary courses in communication, cultural and media studies, providing a network of contexts within which serious analysis could evolve and progress. Responding to a fundamental challenge from feminism, a primary objective of this book is to propose that all narrative and its reading are intrinsically inflected by sexual politics. Various approaches represented here demonstrate problems of confronting the gendered pleasures of reading. Questions about self, sexuality and identity within specific historical formations are raised. The objective is to frame, describe and unearth the notion of ‘men as readers’ as a project rather than as the usual, unquestioned normative procedure.Drawing eclectically upon Marxist, psychoanalytic and discourse theory, the essays set out readings of popular texts and genres – the Western, the sentimental novel, detective and crime fiction, political thrillers and horror and science fiction – in the interest of provoking other readers to see the critical study of popular fiction as unthinkable without gender as a central concern.

What is the relationship between feminist critical theory and literature?This book deals with the relationship between women and writing, mothers and daughters, the maternal and history. It addresses the questions about language, writing and the relations between women which have preoccupied the three most influential French feminists and three important contemporary British women novelists. Treating both fiction and theory as texts, she traces the connections between the theorists – Hélène Cixious, Luce Irigaray and Julia Kristeva – and the novelists – Doris Lessing, Angela Carter and Muriel Spark.This reading of the work of these six major women writers explores new forms of women’s identity, subjectivity and narrative and demonstrates how theoretical and literary texts can illuminate each other to bridge the gap between theory and literary criticism.

Until about 1986, feminists generally considered modernism a reactionary, misogynist, and hegemonic mire not worth investigating. Since then enough studies of modernism have appeared that 17 feminist critics can now review and debate their treatment of the period. They evaluate the progress and goals of the new era of modernist scholarship.As the authors in this volume suggest, instead of condemning writers for not practicing or portraying an acceptable politics of gender, we ought instead to show how their assumptions about the nature of the sexes inform their texts, both in their creation and in their reception. This also allows examination of the complex and changing relationship between human subjectivity and aesthetics.This volume is a highly reflective dialogue, introspective and evaluative, at a moment of crisis within modernist studies and feminist studies. The analysis of critical work on early-twentieth-century literature not only helps reread and redefine a definition of modernism; it also intends to redirect and reintegrate feminist theory.

This collection of essays, both feminist and historical, analyzes power relations between men and women in the Victorian period. This volume is the first to reshape Victorian studies from the perspective of the postmodern return to history, and is variously influenced by Marxism, sociology, anthropology, and post-structuralist theories of language and subjectivity. It analyzes the struggle for legitimacy and recognition in Victorian institutions and the struggle over meanings in ideological representation of the gendered subject in texts.Contributors cover diverse topics, including Victorian ideologies of motherhood, the male gaze, the cult of the male child genius in narrative painting, the press, and Victorian women and the French Revolution, discussing both well-known and less familiar Victorian texts.

Before about 1840, there was little prestige attached to the writing of novels, and most English novelists were women. By the turn of the twentieth century, "men of letters" acclaimed novels as a form of great literature, and most critically successful novelists were men. In the book, sociologist Gaye Tuchman examines how men succeeded in redefining a form of culture and in invading a white-collar occupation previously practiced mostly by women.Tuchman documents how men gradually supplanted women as novelists once novel-writing was perceived as potentially profitable, in part because of changes in the system of publishing and rewarding authors. Drawing on unusual data ranging from the archives of Macmillan and company (London) to an analysis of the lives and accomplishments of authors listed in the Dictionary of National Biography, she shows that rising literacy and the centralization of the publishing industry in London after 1840 increased literary opportunities and fostered men’s success as novelists. Men redefined the nature of a good novel and applied a double standard in critically evaluating literary works by men and by women. They also received better contracts than women for novels of equivalent quality and sales. They were able to accomplish this, says Tuchman, because they were to a large extent the culture brokers – the publishers, publishers’ readers, and reviewers of an elite art form.Both a sociological study of occupational gender transformation and a historical study of writing and publishing, this book will be a rich resource for students of the sociology of culture, literary criticism, and women’s studies.

‘Postmodernism’ and ‘feminism’ have become familiar terms since the 1960s, developing alongside one another and clearly sharing many strong points of contact. Why then have the critical debates arising out of these movements had so little to say about each other? Patricia Waugh addresses the relationship between feminist and postmodernist writing and theory through the insights of psychoanalysis and in the context of the development of modern fiction in Britain and America. She attempts to uncover the reasons why women writers have been excluded from the considerations of postmodern art.Her route takes her through the theorization of self offered by Freud and Lacan and on to the concept of subjectivity articulated by Kleinian and later object-relations psychoanalysts. She argues that much women’s writing has been inappropriately placed and interpreted within a predominantly formalist-orientated aesthetic and a post-Freudian/liberal, individualist conceptualization of subjectivity and artistic expression. This tendency has been intensified in discussions of postmodernism, and a new feminist aesthetic is thus badly needed.In the second part of the book Patricia Waugh analyses the work of six ‘traditional’ and six ‘experimental’ writers, challenging the restrictive definitions of ‘realist’, ‘modernist’, ‘postmodernist’ in the light of the theoretical position developed in part one. Authors covered include: Woolf (viewed as a postmodernist ‘precursor’ rather than a ‘high’ modernist), Drabble, Tyler, Plath, Brookner, Paley, Lessing, Weldon, Atwood, Walker, Spark, Russ, and Piercy.