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Abstract

Feminist activists, thinkers, theoreticians, writers, and critics of second- and third-wave feminism have probed representations of femininity, questioned social limits, and imagined the fullness of women’s potentiality. In addition, the feminist work done since the 1970s reveals that the Women’s Movement continues to be a transnational phenomenon whose influence, ideas, and narratives are not bounded by geographical location; that the battle of genders is one not only of politics and economics but also of words and culture; that the institutional contexts — educational and publishing — helped foment an audience for women’s writing and writing about women. The task of this chapter is to account for some of that material history and to examine aspects of the developing literary infrastructure in Britain. Its focus is particularly on publishing and associated activities, literary prizes, and on the tension between politics and commerce that governs recent history.

Keywords

Black Woman Cultural Politics Book Club Woman Writer Modern Classic 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Simone Murray, Mixed Media: Feminist Presses and Publishing Politics (London: Pluto Press, 2004).Google Scholar
  2. 2.
    Quoted in Eileen Cadman, Gail Chester, and Agnes Pivot, Rolling Our Own: Women as Printers, Publishers and Distributors (London: Minority Press, 1981), p. 26.Google Scholar
  3. Quoted in Joan Scanlon and Julia Swindells, ‘Bad Apple’, The Trouble and Strife Reader, ed. Deborah Cameron and Julia Swindells (London: Bloomsbury 2009), p. 217.Google Scholar
  4. 4.
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  5. 6.
    Carmen Callil, ‘Women, Publishing and Power’, Writing: A Women’s Business, ed. Judy Simons and Kate Fullbrook (Manchester University Press, 1998), p. 185.Google Scholar
  6. 11.
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  7. 12.
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  8. 15.
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  10. 17.
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  11. 18.
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  18. 27.
    Some of these debates about black identities were put into motion by the innovative work of the black film collectives in the 1980s: see Lynne Jackson and Jean Rasenberger, ‘Young, British and Black’, Cineaste, 16:4 (1988), pp. 24–5;Google Scholar
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  21. 28.
    See Kadija Sesay, ‘Publishing, Books’, Companion to Contemporary Black British Culture, ed. Alison Donnell (London: Routledge, 2002), pp. 247–50, and ‘Publishing’, The Oxford Companion to Black British History, ed. David Dabydeen, John Gilmore, and Cecily Jones (Oxford University Press, 2008), pp. 380–4.Google Scholar
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  23. 33.
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    James English, The Economy of Prestige (Cambridge, Mass. and London: Harvard University Press, 2005), p. 12.CrossRefGoogle Scholar

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© Gail Low 2015

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  • Gail Low

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