"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.

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.

In this beautifully illustrated and provocative study, Bridget Elliott and Jo-Ann Wallace reappraise women's literary and artistic contribution to Modernism. Through comparative case studies, including Natalie Barney, Virginia Woolf, Vanessa Bell and Gertrude Stein, the authors examine the ways in which women responded to Modernism and created their artistic identity, and how their work has been positioned in relation to that of men. Bringing together women's studies, visual arts and literature, Women Writers and Artists makes an important contribution to 20th century cultural history. It puts forward a powerful case against the academic division of cultural production into departments of Art History and English Studies, which has served to marginalize the work of female Modernists.

Challenging the tendency of scholars to view women writers of the modernist era as isolated artists who competed with one another for critical and cultural acceptance, Women Making Modernism reveals the robust networks women created and maintained that served as platforms and support for women’s literary careers. The essays in this volume highlight both familiar and lesser-known writers including Virginia Woolf, Mina Loy, Dorothy Richardson, Emma Goldman, May Sinclair, and Mary Hutchinson. For these writers, relationships and correspondences with other women were key to navigating a literary culture that not only privileged male voices but also reserved most financial and educational opportunities for men. Their examples show how women’s writing communities interconnected to generate a current of energy, innovation, and ambition that was central to the modernist movement. Contributors to this volume argue that the movement’s prominent intellectual networks were dependent on the invisible work of women artists, a fact that the field of modernist studies has too long overlooked. Amplifying the reality of women’s contributions to modernism, this volume advocates for an “orientation of openness” in reading and teaching literature from the period, helping to ease the tensions between feminist and modernist studies.

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.

"This is the book we've been waiting for: a distinguished collection that demonstrates how revisions of Modernist definitions might proceed. . . . The Gender of Modernism . . . will be nothing less than an absolutely necessary text for Modernist studies." —Shari Benstock "Scott and her contributing editors . . . effectively [bring] together the issues of gender and modernism into a volume recommended for reference and classroom use." —James Joyce Literary Supplement " . . . a treasure trove for anyone interested in the literature and history of modern times." —Susan Gubar Authors included are: Djuna Barnes, Willa Cather, Nancy Cunard, H.D., T.S. Eliot, Jessie Redmond Fauset, Zora Neale Hurston, James Joyce, Nella Larsen, D.H. Lawrence, Mina Loy, Rose Macaulay, Hugh MacDiarmid, Katherine Mansfield, Charlotte Mew, Marianne Moore, Ezra Pound, Jean Rhys, Dorothy Richardson, May Sinclair, Gertrude Stein, Sylvia Townsend Warner, Rebecca West, Antonia White, Anna Wickham, and Virginia Woolf.