"Major figures including W.B. Yeats, Marianne Moore, D.H. Lawrence, Ford Madox Ford, and Virginia Woolf viewed "cross-sex" collaboration as a valuable, and often subversive, strategy for bringing women and men's differing perspectives into productive dialogue while harnessing the creative potential of gendered discord. This study is the first to acknowledge collaboration between women and men as an important part of the modernist effort to "make it new." Drawing on current methods from textual scholarship to read modernist texts as material, socially constructed products of multiple hands, the study argues that cross-sex collaboration involved writers working not just with each other, but also with publishers and illustrators. By documenting and tracing the contours of their desire for cross-sex collaboration, we gain a new understanding of the modernists' thinking about sex and gender relations, as well as three related topics of great interest to them: marriage, androgyny, and genius"--

This book examines literary collaborations between women and men, revealing how deeply imbued and valuable gender conflict was in modernism.

Women have always been the muses who inspire the creativity of men, but how do women become the creators of art themselves? This was the challenge faced by Latin American women who aspired to write in the 1920s and 1930s. Though women's roles were opening up during this time, women writers were not automatically welcomed by the Latin American literary avant-gardes, whose male members viewed women's participation in tertulias (literary gatherings) and publications as uncommon and even forbidding. How did Latin American women writers, celebrated by male writers as the "New Eve" but distrusted as fellow creators, find their intellectual homes and fashion their artistic missions? In this innovative book, Vicky Unruh explores how women writers of the vanguard period often gained access to literary life as public performers. Using a novel, interdisciplinary synthesis of performance theory, she shows how Latin American women's work in theatre, poetry declamation, song, dance, oration, witty display, and bold journalistic self-portraiture helped them craft their public personas as writers and shaped their singular forms of analytical thought, cultural critique, and literary style. Concentrating on eleven writers from Argentina, Brazil, Cuba, Mexico, Peru, and Venezuela, Unruh demonstrates that, as these women identified themselves as instigators of change rather than as passive muses, they unleashed penetrating critiques of projects for social and artistic modernization in Latin America.

This book explores the collaborative practices – both literary and material – that women undertook in the production of early modern texts. It confronts two ongoing methodological dilemmas. How does conceiving women’s texts as collaborations between authors, readers, annotators, editors, printers, and patrons uphold or disrupt current understandings of authorship? And how does reconceiving such texts as collaborative illuminate some of the unresolved discontinuities and competing agendas in early modern women’s studies? From one perspective, viewing early modern women’s writing as collaborative seems to threaten the hard-won legitimacy of the authors we have already recovered; from another, developing our understanding of literary agency beyond capital “A” authorship opens the field to the surprising range of roles that women played in the history of early modern books. Instead of trying to simply shift, disaggregate or adjudicate between competing claims for male or female priority in the production of early modern texts, Gender, Authorship, and Early Modern Women’s Collaboration investigates the role that gender has played – and might continue to play – in understanding early modern collaboration and its consequences for women’s literary history.

As authors and publishers, individuals and collectives, women significantly shaped the modernist movement. While figures such as Virginia Woolf and Gertrude Stein have received acclaim, authors from marginalized communities and those who wrote for mass, middlebrow audiences also created experimental and groundbreaking work. The essays in this volume explore formal aspects and thematic concerns of modernism while also challenging rigid notions of what constitutes literary value as well as the idea of a canon with fixed boundaries. The essays contextualize modernist women's writing in the material and political concerns of the early twentieth century and in life on the home front during wartime. They consider the original print contexts of the works and propose fresh digital approaches for courses ranging from high school through graduate school. Suggested assignments provide opportunities for students to write creatively and critically, recover forgotten literary works, and engage with their communities.

Ideal for courses, this Companion examines the range, historical importance, and aesthetic merit of women's writing in Britain, 1500-1700.

The first full-length study to focus exclusively on nineteenth-century British women while examining queer authorship and culture, Jill R. Ehnenn's book is a timely interrogation into the different histories and functions of women's literary partnerships. For Vernon Lee (Violet Paget) and 'Kit' Anstruther-Thomson; Somerville and Ross (Edith Somerville and Violet Martin); Elizabeth Robins and Florence Bell; and Katharine Bradley and Edith Cooper, the couple who wrote under the pseudonym of 'Michael Field', collaborative life and work functioned strategically, as sites of discursive resistance that critique Victorian culture in ways that would be characterized today as feminist, lesbian, and queer. Ehnenn's project shows that collaborative texts from such diverse genres as poetry, fiction, drama, the essay, and autobiography negotiate many limitations of post-Enlightenment patriarchy: Cartesian subjectivity and solitary creativity, industrial capitalism and alienated labor, and heterosexism. In so doing, these jointly authored texts employ a transgressive aesthetic and invoke the potentials of female spectatorship, refusals of representation, and the rewriting of history. Ehnenn's book will be a valuable resource for scholars and students of Victorian literature and culture, women's and gender studies, and collaborative writing.

For many years young writers experimenting with forms and aesthetics in the early decades of this century, small journals known collectively as "little" magazines were the key to recognition. Joyce, Stein, Eliot, Pound, Hemingway, and scores of other iconoclastic writers now considered central to modernism received little encouragement from the established publishers. It was the avant-garde magazines, many of them headed by women, that fostered new talent and found a readership for it. Jayne Marek examines the work of seven women editors—Harriet Monroe, Alice Corbin Henderson, Margaret Anderson, Jane Heap, H.D., Bryher (Winifred Ellerman), and Marianne Moore—whose varied activities, often behind the scenes and in collaboration with other women, contributed substantially to the development of modernist literature. Through such publications as Poetry, The Little Review, The Dial, and Close Up, these women had a profound influence that has been largely overlooked by literary historians. Marek devotes a chapter as well to the interactions of these editors with Ezra Pound, who depended upon but also derided their literary tastes and accomplishments. Pound's opinions have had lasting influence in shaping critical responses to women editors of the early twentieth century. In the current reevaluation of modernism, this important book, long overdue, offers an indispensable introduction to the formative influence of women editors, both individually and in their collaborative efforts.

The aim of this work is to focus on the non-dramatic works of the early period of modernism in England with an emphasis on the origins and development of key writers and poets. Other such studies date to the mid1980s (Michael Levenson, Sanford Schwartz, Stan Smith, e.g.) and tend to lean heavily toward intellectual history or poetics. This work strives to include a broad mix of thought as to the issue and the purpose of modernism including cultural anthropology, mythology, impressionism and the use of architectural space, with some attention to publishing (the development of the English short story, emergence of literary magazines, and use of literary reviews in creating a "public' for new writing) . Also, as opposed the edited collections such as Shiach or Whitworth research is not confined to a single genre nor strays from the focus of literary as opposed to other modern movements then in creation. Vital currents of modernism such as literary feminism, secular humanism/Darwinism and place and placelessness are also discussed. The writers and poets discussed include Pound, Eliot, Wyndam Lewis, T.E.Hulme, Hardy, F.M.Ford, Joseph Conrad, Virginia Woolf, Walter Pater, "Michael Field", Henry.James, Oscar Wilde and E.M.Forster. Contributors include Tyrus Miller, University of California, Santa Cruz, Elizabeth Foley O'Connor, Fordham University, Jason B. Jones, Central Connecticut State University Charles Sumner, University of Southern Mississippi Carme Font Paz, Universitat Autònoma de Barcelona Lori M. Campbell, University of Pittsburgh Elizabeth A. Primamore, Borough of Manhattan Community College, CUNY Robert McParland, Felician College Sheng-yen Yu, National Taipei University of Technology Gregory F. Tague, St. Francis College Alex Moffett, Northeastern University Mitchell R. Lewis, Elmira College Divya Saksena, Middle Tennessee State University Yevgeniya Traps, Graduate Center, CUNY Daniel Moore, University of Birmingham, UK Allan Johnson, University of Leeds, UK Wayne Stables, Trinity College, Dublin Timothy Vincent, Duquesne University Monika Gehlawat, University of Southern Mississippi Tom Henthorne, Pace University Katherine Isobel Baxter, Hong Kong University "This substantial volume organized around thematics of Origins of English Literary Modernism allows essays on the fin de siècle to talk interestingly to those on Edwardians and Georgians and they in turn to studies of early modernist masters. The emphasis on genealogy of modernism holds the volume together but does not keep individual essays from fresh and interesting explorations, little magazines in the fin de siècle, Bennett's early criticism, historiography in Vernon Lee, Baedeker in E. M. Forster: a rich and interesting collection toward study of the long twentieth century." John Maynard, Professor of English, New York University, and Co-Editor of Victorian Literature and Culture.