Women's Experimental Poetry in Britain 1970-2010 examines a critically neglected but significant body of contemporary writing, placing it within wider social and political contexts. Ranging from Geraldine Monk's ventriloquizing of the Pendle witches to Denise Riley's fiercely self-critical lyric poems—from the multi-media experiments of Maggie O'Sullivan to the globally aware, politicized sequences of Andrea Brady and Jennifer Cooke—it offers a needed theoretical look at women's experimental poetry in Britain over the past forty years, drawing on the likes of Julia Kristeva and others to show how the female poetic voice has constantly negotiated with dominant systems of representation.

This study presents the history and current state of women's experimental poetry in Britain and places it within wider social and political contexts. Ranging from Geraldine Monk's ventriloquising of the Pendle witches to Denise Riley's highly self-critical lyric poems, from the multimedia experiments of Maggie O'Sullivan to the globally aware, politicised sequences of Andrea Brady & Jennifer Cooke, this book theorises women's alternative poetry in terms of Julia Kristeva's idea of 'women's time' and of the female poetic voice constantly negotiating with dominant systems of representation.

Women’s Experimental Poetry in Britain 1970–2010 presents the history and current state of a critically neglected, significant body of contemporary writing and places it within the wider social and political contexts of the period.

The Cambridge Introduction to British Poetry, 1945–2010 provides a broad overview of an important body of poetry from England, Scotland, Wales, and Northern Ireland from the postwar period through to the twenty-first century. It offers a comprehensive view of the historical context surrounding the poetry and provides in-depth readings of many of the period's central poets. British poetry after 1945 has been given much less attention than both earlier British and American poetry, as well as postwar American poetry. There are very few single-author studies that present the entirety of the period's poetry. This book is unique for the comprehensive richness with which it presents the historical and literary-historical scene, as well as for its close-up focus on a wide range of major poets and poems.

This book scrutinizes a range of relatively overlooked post-WWII British women writers who sought to demonstrate that narrative prose fiction offered rich possibilities for aesthetic innovation. What unites all the primary authors in this volume is a commitment to challenging the tenets of British mimetic realism as a literary and historical phenomenon. This collection reassesses how British female novelists operated in relation to transnational vanguard networking clusters, debates and tendencies, both political and artistic. The chapters collected in this volume enquire, for example, whether there is something fundamentally different (or politically dissident) about female experimental procedures and perspectives. This book also investigates the processes of canon formation, asking why, in one way or another, these authors have been sidelined or misconstrued by recent scholarship. Ultimately, it seeks to refine a new research archive on mid-century British fiction by female novelists at least as diverse as recent and longer established work in the domain of modernist studies.

This book explores the history of women’s engagement with writing experimentally. Women writers have long used different narratives and modes of writing as a way of critiquing worlds and stories that they find themselves at odds with, but at the same time, as a way to participate in such spaces. Experimentation—of style, mode, voice, genre and language—has enabled women writers to be simultaneously creative and critical, engaged in and yet apart from stories and cultures that have so often seen them as ‘other’. This collection shows that women writers in English over the past 400 years have challenged those ideas not only through explicit polemic and alternative representations but through disrupting the very modes of representation and story itself.

This book maps the most active and vibrant period in the history of British women's writing. Examining changes and continuities in fiction, poetry, drama, and journalism, as well as women's engagement with a range of literary and popular genres, the essays in this volume highlight the range and diversity of women's writing since 1970.