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The avant-garde project put into practice some questions related to the link between art and society, the role of artist and the origin and form of the work of art itself. All these elements are revisited by the new feminist literary approach. This essay examines the work of Fina Warschaver (1910-1989) who combines formal innovation and feminist claims into her writings during the 50's. From the readings of Virginia Woolf and Simone de Beauvoir, authors that set a statement for the future feminist movements, I study how her stories discover new ways of writing gender and genre; on the one hand, I analyze how she incorporates question regarding women oppression into realist political novels and, on the other hand, I investigate how she modifies the rules of minor literary genres such as science fiction to propose a new feminist identity. [ABSTRACT FROM AUTHOR]

This paper rescues the forgotten Mexican poet Concha Urquiza (1910-1945) from three keys: the peripheral place that women occupied in the dominant literary circles during the interwar period; the use of religiosity as dissidence in the face of the crisis of the historical avant-gardes and the advent of the postmodern paradigm; and the construction of women's genealogies as a feminist strategy. This analysis reinterprets, through these keys, the profound meaning of her poetry as a modern appropriation of the mystical tradition. Also, two recoveries of Urquiza as mater: Cristina Rivera Garza's feminist reading; and Roberto Bolaño's affirmation of the modern as resistance, as shown in Los detectives salvajes. [ABSTRACT FROM AUTHOR]

This interview with the poet Glenda George and Lewis Johnson (PhD student, University of Liverpool) took place over email during December 2021–March 2022. George discusses her early work in the British Poetry Revival, examining the impacts of class and gender on her experience as a writer. George describes her role in the development of the poetry magazine Curtains (1971–1978), discussing her translation process and her reason for translating the French avant-garde into English. George concludes by tracing her poetics from the 1970s and 1980s into the present, offering her views on contemporary poetry and poetics. [ABSTRACT FROM AUTHOR]

Feminist Book Fortnight was a signal event in the history of feminist publishing, but its history has not yet been written. Throughout the latter half of the 1980s, the Fortnight promoted feminist literature in the UK and Ireland and helped to sustain and power a revolution in feminist publishing. Drawing on the archives of Spare Rib magazine, this article analyses the often fierce tension between the Fortnight's activist aims and its commercial imperatives, and maps out the distinctive regionalism of this annual book trade promotion. Books and literature were of vital importance to the women's movement and Feminist Book Fortnight supported the expansion of the feminist literary marketplace outside London. As I will show, the Fortnight navigated not only between the activist margins and the commercial mainstream, but between isolated feminist outposts and metropolitan centres. Combining feminist digital geography with oral histories and literary analysis, this article concentrates not on women readers or authors but on the workings of the industry which mediated the production and consumption of feminist literature at this time. I argue that the Fortnight's complex renegotiation of extant publishing practices (Murray (2017): 814), both commercial and regional, constituted its most significant contribution to the larger feminist movement. [ABSTRACT FROM AUTHOR]

The article examines the reception by feminist book reviewers of American punk experimental writer Kathy Acker in the feminist and mainstream press, and in scholarly accounts in feminist and non-feminist publications. She analyzes Acker's position in feminist literary studies given her idiosyncratic politics called punk feminism, the microhistory of the woman writer and contemporary women's writing. It discusses her works including "Great Expectations" and "Blood and Guts in High School."

In this interpretative exercise we engage with selected texts by two contemporary feminist thinkers --Gilda Luongo (Chile) and val flores (Argentina). We seek after the traces of their conceptualization regarding the ways in which women and lesbians inscribe their/our narratives in the "oppressor's language" (following Adrienne Rich, Dorothy Smith and Audre Lorde). We look into their challenges and proposals in a double search. On the one hand, we inquire into their negotiations of the tension between feminist experience and language, which manifests itself in a rebellious writing, grounded in corporeality and unsettled by their historical and spatial locations. On the other, we set to unveil the genealogical role of feminist/lesbian intertextuality, which connects the selected writings with the works of feminists from other times and latitudes, thus laying the grounds of a shared "room of one's own" in language. [ABSTRACT FROM AUTHOR]

This article investigates the relationship between space appropriation and women’s writing and publishing activities, in the context of second-wave feminism in Milan. From the early 1970s onwards, Milan’s feminist movement – which arose from the conjunction between transnational, national and local factors – engaged in a variety of translating, writing and publishing projects. In fact, Milan was one of the first Italian cities to publish translations of foreign feminist texts. More importantly, it was the site of the earliest feminist theoretical production in Italy. The article argues that, at different points of the decade, the empowering act of writing, publishing and circulating feminist knowledge reflected a search for a more profound consciousness of the female self which was intricately connected to the (symbolical and material) appropriation of women-only spaces in the city. In particular, it discusses three different expressions of this interaction between physical and discursive space: the feminist publishing house Scritti di Rivolta Femminile, the Libreria delle donne di Milano and the 150 hours monographic courses in the Affori neighbourhood. [ABSTRACT FROM PUBLISHER]

This article proposes to offer a case study considering the authorial anonymity of a fifteenth-century poem, The Assembly of Ladies, where it seems the anonymous authorial status is used deliberately in order to highlight the text's theme of female authorship. This analysis elevates medieval literary anonymity as a deliberately used concept in its own right. The anonymity of the author, I will argue, allows the reader to engage with the topic of how a woman may participate in literary production, a theme that would be difficult to appreciate were one to know the identity, and particularly, the gender, of the author, whether male or female. The Assembly of Ladies brings to our attention that a medieval author may well choose anonymity for literary reasons that do not correspond to either a lack of understanding of individuality nor to the text having 'lost' its author for no discernable reason. [ABSTRACT FROM AUTHOR]