Where were the women of the so-called `Auden Generation'?During this era of rapidly changing gender roles,social values and world politics,women produced a rich variety of poetry.But until now their work has largely been lost or ignored;in Women's Poetry of the 1930s Jane Dowson finally redresses the balance and recovers women's place in the literary history of the interwar years.This comprehensive and beautifully edited collection includes: *Previously uncollected poems by authors such as Winifred Holtby and Naomi Mitchison *Poems which are now out of print,such as those by Vita Sackville-West and Frances Cornford *Poems previously neglected by poets including Ann Ridler and Sylvia Townsend Warner *An extensive critical introduction and individual biographies of each poet Poetry lovers,students and scholars alike will find Women's Poetry of the 1930s an invaluable resource and a collection to treasure.

This comprehensive collection of fiction, poetry, and reportage lays to rest the charge that feminism disappeared after 1920. Among the 36 writers are Muriel Rukeyser, Margaret Walker, Josephine Herbst, Tillie Olsen, Tess Slesinger, Agnes Smedley, and Meridel Le Sueur. Others will be new to readers, including many working-class black and white women. Throughout, as Toni Morrison writes, the anthology is "peopled with questioning, caring, socially committed women writers." Library Journal says "This volume excavates the stories, poems, and reportage of women writers whose work originally appeared in now-defunct Left journals. This essential collection should inspire."

This book examines in detail the contribution of women writers through their memoirs, fiction and poetry to the literature of the 1930s. The author challenges the traditional literary analyses of this dynamic and politically charged decade.

This volume contributes to the vibrant, ongoing recuperative work on women’s writing by shedding new light on a group of authors commonly dismissed as middlebrow in their concerns and conservative in their styles and politics. The neologism ‘interfeminism’ – coined to partner Kristin Bluemel’s ‘intermodernism’ – locates this group chronologically and ideologically between two ‘waves’ of feminism, whilst also forging connections between the political and cultural monoliths that have traditionally overshadowed them. Drawing attention to the strengths of this ‘out-of-category’ writing in its own right, this volume also highlights how intersecting discourses of gender, class and society in the interwar and postwar periods pave the way for the bold reassessments of female subjectivity that characterise second and third wave feminism. The essays showcase the stylistic, cultural and political vitality of a substantial group of women authors of fiction, non-fiction, drama, poetry and journalism including Vera Brittain, Storm Jameson, Nancy Mitford, Phyllis Shand Allfrey, Rumer Godden, Attia Hosain, Doris Lessing, Kamala Markandaya, Susan Ertz, Marghanita Laski, Elizabeth Bowen, Edith Pargeter, Eileen Bigland, Nancy Spain, Vera Laughton Matthews, Pamela Hansford Johnson, Dorothy Whipple, Elizabeth Taylor, Daphne du Maurier, Barbara Comyns, Shelagh Delaney, Stevie Smith and Penelope Mortimer. Additional exploration of the popular magazines Woman’s Weekly and Good Housekeeping and new material from the Vera Brittain archive add an innovative dimension to original readings of the literature of a transformative period of British social and cultural history. List of contributors: Natasha Periyan, Eleanor Reed, Maroula Joannou , Lola Serraf, Sue Kennedy, Ana Ashraf, Chris Hopkins, Gill Plain, Lucy Hall, Katherine Cooper, Nick Turner, Maria Elena Capitani, James Underwood, and Jane Thomas.

Chinese women's writing is rich and abundant, although not well known in the West. Despite the brutal wars and political upheavals that ravaged twentieth-century China, the ranks of women in the literary world increased dramatically. This anthology introduces English language readers to a comprehensive selection of Chinese women poets from both the mainland and Taiwan. It spans the early 1920s and the era of Republican China's literary renaissance through the end of the twentieth century. The collection includes 245 poems by forty poets in elegant English translations, as well as an extensive introduction that surveys the history of contemporary Chinese women's poetry. Brief biographical head notes introduce each poet, from Bin Xin, China's preeminent woman poet in the early Republican period, to Rongzi, a leading poet of modern Taiwan. The selections are startling, moving, and wide-ranging in mood and tone. Together they present an enticing palette of delightful, elegant, playful, lyric, and tragic poetry.

The Body of Poetry collects essays, reviews, and memoir by Annie Finch, one of the brightest poet-critics of her generation. Finch's germinal work on the art of verse has earned her the admiration of a wide range of poets, from new formalists to hip-hop writers. And her ongoing commitment to women's poetry has brought Finch a substantial following as a "postmodern poetess" whose critical writing embraces the past while establishing bold new traditions. The Body of Poetry includes essays on metrical diversity, poetry and music, the place of women poets in the canon, and on poets Emily Dickinson, Phillis Wheatley, Sara Teasdale, Audre Lorde, Marilyn Hacker, and John Peck, among other topics. In Annie Finch's own words, these essays were all written with one aim: "to build a safe space for my own poetry. . . . [I]n the attempt, they will also have helped to nourish a new kind of American poetics, one that will prove increasingly open to poetry's heart." Poet, translator, and critic Annie Finch is director of the Stonecoast low-residency MFA program at the University of Southern Maine. She is co-editor, with Kathrine Varnes, of An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art, and author of The Ghost of Meter: Culture and Prosody in American Free Verse, Eve, and Calendars. She is the winner of the eleventh annual Robert Fitzgerald Prosody Award for scholars who have made a lasting contribution to the art and science of versification.

This volume of new writings has a double purpose: to question Auden's description of the 1930s as a 'low dishonest decade' and to draw attention to the richness, complexity and diversity of women's writing of the period and how this deals with issues of politics, gender and history. The writers discussed include Elizabeth von Arnim, Elizabeth Bowen, Katherine Burdekin, Nancy Cunard, Storm Jameson, Rosamond Lehmann, Naomi Mitchison, Jean Rhys, Sylvia Townsend Warner, Rebecca West and Virginia Woolf.Key Features* A clear and informative introduction by Maroula Joannou sets the writers in historical and literary context* The essays deal with Modernist texts as well as traditional modes of writing, and with neglected and well-known writers* An important challenge to the ways in which the literature of the 1930s has been traditionally understood which questions the myth of the Auden generation* Brings together a range of distinguished contributors all of whom are experienced university teachers who all contribute new research

"Smoking. Pauline Hopkins on alchemy and the undead. Frances E.W. Harper on woman's political future. Sui Sin Far on cross-dressing. Emma Lazarus and Angelina Weld Grimké on lesbian longing. Julia Ward Howe on intersexuality. Charlotte Perkins Gilman on euthanasia. Emma Goldman against the tyranny of marriage. Ida B. Wells against lynching. Anna Julia Cooper on Black American womanho. Frances Willard on riding a bicycle. This anthology is perhaps the first of its kind: a full-length collection of radical writings by American women of the 19th and early 20th century, with all major genres represented-fiction, poetry, drama, memoir, essays, and oratory-and voices of color prioritized. Many of these writings have never been anthologized before; some have never even been reprinted before. Stabel and Turpin endeavor to counterbalance widely canonized voices with a greater proportion of writings by less-anthologized Black feminists, Native feminists, and Asian American feminists, many of whom were writing for their lives and the lives of their families and communities, often at the risk of being harassed, slandered, disenfranchised, or lynched. Readers will find the original version of what was later edited into Sojourner Truth's "Ain't I a Woman?" speech, Julia A. J. Foote's account of her fight to be able to preach in the A.M.E. Church despite being a woman, and Julia Ward Howe's sensitive treatment of intersex life in America. They will also encounter new and surprising facets of the authors they know and love. For example, Emily Dickinson's most overtly erotic poems, those usually passed over in favor of other verses that misleadingly suggest a celibacy or disinterest in sex on Dickinson's part; and Kate Chopin's "An Egyptian Cigarette," her first-person fictional account of smoking pot-originally published in Vogue. Readers will enjoy excerpts from Pauline Hopkins's Of One Blood, a novel of alchemy and the undead, as well as from Amelia E. Johnson's Clarence and Corinne, a traditional love story. Simply writing such works was a radical freedom that these women had to carve out for themselves, in an era when many of them were legally considered property, none could vote, and reading and writing were often seen as privileges only for the free and wealthy. Radicals is ultimately intended to undo silences and prioritize unheard, underrepresented, powerful works of literature-from a period whose later historians often relegated women's writings to the periphery of American culture. One and all, these were women of genius and audacity, and, as Adah Isaacs Menken writes of such radicals, "this very audacity is divine""--

Primarily a literary history, Women, Modernism and British Poetry, 1910-1939 provides a timely discussion of individual women poets who have become, or are becoming, well-known as their works are reprinted but about whom little has yet been written. This volume recognizes the contributions, overlooked previously, of such British poets as Anna Wickham, Nancy Cunard, Edith Sitwell, Mina Loy, Charlotte Mew, May Sinclair, Vita Sackville-West and Sylvia Townsend Warner; and the impact of such American poets as H.D., Amy Lowell, Edna St. Vincent Millay, Marianne Moore and Laura Riding on literary practice in Britain. This book primarily maps the poetry scene in Britain but identifies the significance of the network of writers between London, New York and Paris. It assesses women's participation in the diversity of modernist developments which include avant-garde experiments, quiet, but subtly challenging, formalism and assertive 'new woman' voices. It not only chronicles women's poetry but also their publications and involvement in running presses, bookshops and writing criticism. Although historically situated, it is written from the perspective of contemporary debates concerning the interface of gender and modernism. The author argues that a cohering aesthetic of the poetry is a denial of femininity through various evasions of gendered identity such as masking, male and female impersonations and the rupturing of realist modes.

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