Introduction to Women’s

UNIT 1 INTRODUCTION TO WOMEN’S Writing

WRITING
Structure

1.0 Objectives
1.1 Introduction
1.2 The Waves of Feminism: An Overview
1.3 Women’s Writing: Trends and Development
1.3.1 Women’s Writing: Locating the Genre
1.3.2 Perspectives in Feminist Thought
1.4 Women’s Writing: The Indian Context
1.5 Let Us Sum Up
1.6 Aids to Activities
1.7 Glossary
1.8 Unit-End Questions
1.9 References and Suggested Readings

1.0 OBJECTIVES
By the end of this Unit, you will be able to:
 understand the different aspects of, and the conflicts within, the concept of
feminism over time.
 trace women’s writing throughout history, and across cultural and
geographical boundaries.
 get acquainted with the literary figures associated with the struggle for the
acknowledgement and acceptance of women’s writing.
Words in bold are explained in the Glossary.

1.1 INTRODUCTION
Feminist literary criticism, in reading cultural artefacts from a feminist standpoint,
has transformed the study of literary texts. When employed in the context of
literature, feminist criticism assesses a text by a female or a male author for its
literary value as well as for its representation of women characters.
Across the centuries, women have been the subject of innumerable
reconfigurations and with every reinscription comes the necessity of rereading.
In the space of the text, woman can be both defamed and defended, and it is here
that the most persuasive possibilities can be found for imagining the future of
the female subject. (Plain & Sellers 2)
Feminist literary criticism helps reassess existing literary canons for the
patriarchal ideologies, political beliefs and value systems that they perpetuate, 9
Non Fictional Prose which more often than not, belong to the European, White man. It has
simultaneously also influenced the concomitant aspects of publishing and critical
reception with particular focus on the analysis of how the literary techniques
employed by women writers are different from the prescriptions of the male
canon. The blossoming of feminist theory in the past few years has also led to
new developments in the field of Women’s Writing.

Activity 1: Rereading of canonical works is also followed by retellings of

such texts. Do you think they justify the representation of women characters?

The roots of the earliest feminist discourse have to be traced in the eighteenth
century when Mary Wollstonecraft published A Vindication of the Rights of
Woman, a work she was vilified by many fellow writers for endeavouring. Inspired
by the notions of equality and liberty that the French Revolution emblematized,
the work was one of the world’s first sustained feminist arguments and challenged
many of the conventional notions of femininity of her time. Wollstonecraft’s
emphasis on female education–the kind which enforces solid virtues as against
artificial graces– made her one of the earliest proponents of gender equality.
However, unlike latter-day feminists, she did not seek freedom for women from
the domestic sphere. Wollstonecraft’s efforts were paralleled by Margaret Fuller
in the US for she too emphasized on the need to educate women. Unlike
Wollstonecraft, however, she did not subscribe to the notion of specific gender
roles and sought solidarity between African-Americans and women.
Another founding figure of feminism as we know it today is Virginia Woolf
whose ideas continue to influence feminist theorists even today. She was an
early proponent of the notion of the ‘androgynous’ creative mind (Fuller too
had talked about androgyny but her notion of it was rooted in mysticism unlike
Woolf’s). The best artists, believed Woolf, were always a blend of masculine and
feminine qualities, or ‘man-womanly’, and ‘woman-manly’, as she called it (Woolf
103). She was also the first theorist who argued in favour of a reading practice
that was woman-centric–the kind which would allow women to read as women
without having to employ patriarchal yardsticks of aesthetics and values.

1.2 THE WAVES OF FEMINISM: AN OVERVIEW

The history of feminism, which usually begins with the writings of Wollstonecraft,
followed by Fuller and Woolf, has usually been divided into three waves. The
first wave, which lasted from the 1830s to the 1920s, was characterized by the
suffragette movement dedicated to achieving equality for women in the West.
The women activists of the time also expressed their concern for such issues as
property rights and the opposition to chattel marriage. An important strand of
first-wave feminism was Evangelical Feminism, which sought to uplift those
who were considered morally ‘fallen’. Significant feminist works of literature
written during the first-wave included Kate Chopin’s The Awakening, Charlotte
Perkins Gilman’s The Yellow Wallpaper, and Henrick Ibsen’s The Doll’s House,
each of which deal with the restrictive and oppressive roles of women in Victorian
society. The second wave of feminism roughly began in the year 1963 with the
arrival of Betty Friedan’s The Feminine Mystique. The mantra of this wave was
that ‘the personal is the political’, i.e., the issues that women were dealing with
10 on the personal front were actually political and systemic. Authors like Doris
Lessing, Iris Murdoch, Margaret Drabble, Angela Carter and Muriel Spark Introduction to Women’s
Writing
appeared on the literary scene, rendering the private and social lives of women
in vivid detail. They depicted liberated women in their works, who could carve
their own niche both in their personal and professional lives. Third-wave feminism
began in the 1990s and continues to the present times. This wave was rooted in
the works of such theorists as Luce Irigaray, Kimberlé Crenshaw and Judith
Butler. Largely influenced by a post-structuralist view of both gender and
sexuality, third wave feminism also challenges what it perceives as the failures
of the previous wave. Gender was no longer a rigid or stable category, but a
shifting, contingent, negotiable and fluid entity.
Various analytical categories such as class, caste, race, ethnicity, were added to
the study of feminism. In a paradigmatic shift in feminist criticism, third-wave
feminism also responds to the breakdown of the category of ‘women’ by
emphasizing on individual narratives of different women rather than the canonical
narratives of the middle-class, White women. Authors such as Margaret Atwood,
Jeanette Winterson, Joyce Carol Oates, Chimamanda Ngozi Adichie, Zadie Smith
became the popular women writers of the third wave. Recent women’s writing
has attempted to theorize the act of narration too. Whose voice narrates a story,
whose voice is paid attention to, who holds authority over a narrative, who
represents himself/herself and who is represented by another person, have all
become significant points of entry into works of literature. Likewise, researchers
who study feminism have also made sure that one of their major concerns is their
own position in relation to the population they are studying.
Many twenty-first century critics, however, have levelled their criticism against
the emphasis on individuality by post-feminists stating that if the personal is
truly the political, then a focus only on the individual, defeats what is actually a
collective program. For these critics, an over-emphasis on difference impedes
the development of the feminist movement. In emphasizing difference, feminists
also run the risk of focussing on certain differences (such as race, caste) more
than others (such as workplace).

Activity 2: ‘Anti-essentialism’ is a major force in driving the different waves

of feminism. What are some of the problems concerning women in the current
times? Are they different from those faced by women of previous
generations?

1.3 WOMEN’S WRITING: TRENDS AND

DEVELOPMENT
As a social constructionist view of gender began to take shape–the seeds of
which were sown in the first wave, and sex and gender were distinguished
between, feminists began to look at and identify the psychological, socio-cultural
and political implications of gender norms. Gerda Lerner aptly summarizes this
when she says: “Women writers, as women, negotiate with divided loyalties and
doubled consciousnesses, both within and without a social and cultural agreement”
(Duplessis 40). The tendency to look at certain behaviours and actions as being
typical to a particular gender resulted in women writers being in a double bind–
they were expected to limit their writings to those areas of which they had first- 11
Non Fictional Prose hand experience (i.e. the domestic sphere) but in a rather clever distortion of
reason, when they would stick to conventionally ‘feminine’ topics, they were
accused of being self-serving and parochial. As the prolific author Margaret
Atwood had said “when a man writes about things like doing the dishes, it’s
realism; when a woman does, it’s an unfortunate feminine genetic limitation”
(Nischik 176). To their nineteenth-century peers, women writers were women
before and writers later. A woman writer had to often resort to using a male nom
de plume if they wished to be assessed solely for the uniqueness of their writing
and not for writing well only when compared to the women writers of her time.
The awareness that their literary brilliance would be neglected, owing to the
many stereotypes that are attached to their gender, served as a perpetual source
of vexation to women writers.
Women writers had a strong role to play in undoing these implications. In fact,
the uptake of women’s writing as a distinctive literary culture, since the last few
decades, has been manifold. This trend has given rise to a whole set of literary
studies which specifically cater to women’s texts. However, there are certain
critics who oppose the employment of the term ‘women’s writing’ stating that it
privileges an author’s gender over her literary productions, almost suggesting
that the privilege is a compensation for the wrongs they have suffered.
Nevertheless, traditionally marginalized by men, women, in their capacity as
writers, have challenged not only the conventional structures of power and
dominance, but also the notions of what comprises literature. Their employment
of unconventional literary modes, narrative techniques, diction and style has led
to the creation of the separate genre of ‘women’s writing’ that occupies a unique
position when compared to men’s writings. The written word inevitably then,
became a means to empower women. One of the most popular themes of women’s
writing is its avowal to express and value women’s own views about themselves
as well as the world around them. Over the years, women’s writing has bravely
progressed towards an exploration of a woman’s identity. In the women writers’
refutation of a masculine literary tradition, they have steadily moved towards a
literature that is anchored within the ‘inner space,’ and ‘a room of one’s own’
was a significant symbol of the same.

1.3.1 Women’s Writing: Locating the Genre

If we examine the major writers of nineteenth century England, we see that a
host of women writers like Mary Shelley, Charlotte Brontë, George Eliot, Kate
Chopin, Elizabeth Gaskell, Emily Brontë and Maria Edgeworth, among others
have written works which were groundbreaking for the age in which they were
written. These works, for the past few decades, are being looked at as presaging
the issues and themes of latter-day feminist enquiry. Even more revolutionary
were the works of the American novelists of about the same time such as Louisa
May Allcot, Charlotte Perkins Gilman, Rebecca Harding Davis and Winifred
Holtby. In their seminal study on nineteenth century women novelists, Sandra
Gilbert and Susan Gubar state that the major thematic concern of the nineteenth
century was “the woman’s quest for self-definition” (76).
At the turn of the twentieth century, women writers who wrote novels and prose
pieces adopted new literary approaches and experimented with narrative
12 techniques and styles. Disjointed, non-linear narratives marked by analepsis
and prolepsis, explicitly addressed those issues which were earlier swept under Introduction to Women’s
Writing
the carpet such as women’s sexual desires, sexual violence, same-sex desire and
the woman’s psychology. Writers began to explore how unfulfilling the traditional
roles of a daughter, wife and mother can be and how romantic engagements and
marriage cannot be a woman’s only dream. According to Elizabeth Fox-Genovese,
modern women writers have been “especially interested in the woman alone.
The lovers and husbands of their heroines clearly play a secondary role, not in
the trivialized mode of narcissistic fantasies or underdeveloped characters (to
the contrary, these men are finely delineated) but as particular figures among
many in the difficult lives of struggling women” (272). Women poets of the
time, like their prosodic counterparts, also embraced a new literary mode, charging
their works with unique stylistic and structural characteristics, using the poem’s
physical structure as a means to challenge the traditional literary forms. Poets
like Carol Rumens and Anna Wickham in England and Marianne Moore and
Hilda Doolittle in America have posed a veritable challenge to mainstream literary
traditions. Even so, they were treading on thin ice here because while writing in
as distinct a manner as they could, they also had to carefully avoid being ‘personal’
rather than universal because they had to rely on mainstream literary circles for
getting published and being held in esteem. However, as the times progressed,
women writers, who were financially independent, started their own printing
presses, journals and magazines.
The twentieth century also witnessed a massive output of African-American
literature. African-American writers’ texts were characterized by different issues
than those of the White writers of the period. Authors like Toni Morrison, Alice
Walker, Maya Angelou, and Zora Neale Hurston produced works that focussed
on issues of racial injustice, rigid standards of beauty, desire, motherhood,
interpersonal relationships, misogyny, gender roles, violence, incest, community
and society and God. These stalwarts of Black women’s writing inspired a whole
generation of young novelists such as Toni Cade Bambara and Gloria
Naylor. Black Feminism insisted on the need to include the analytical category
of race in feminist arguments. Thinkers like Patricia Hill Collins, Hortense Spillers
and Hazel Carby were the pioneers of Black feminist thought. Postcolonial
feminism, which emerged soon after, went a step forward and extended the
concerns of Black feminists to the issues faced by the Chicano and Asian American
women as well as the women of other cultures and nations.

Activity 3: Women writers in the nineteenth century often resorted to using

pseudonyms or anonymity to avoid the label of a “woman writer” and to
have a wider readership. Do you think the emergence of Women’s Writing
as a distinct genre hinders its reception in the zone of ‘mainstream’ literature
and renders women’s writings as belonging to the ‘other’?

1.3.2 Perspectives in Feminist Thought

Since the 1970s and 1980s there has been seen a surge of critical works that
analyze women’s writings in terms of the growing body of feminist thought.
French feminism, in particular, which evolved during the 1970s, with the works
of Julia Kristeva, Helene Cixous, and Luce Irigaray, has extensively explored
female subjectivity. Drawing upon psychoanalysis, Cixous challenged the
tendency towards ‘phallogocentrism’ in literature and instead suggested how 13
Non Fictional Prose the only way forward was to overthrow the hierarchies of language prevalent in
an androcentric society. She conceptualized men women as A and B, or as
independent entities, rather than as A and A–. Women, would no longer be the
‘other’ of men. Kristeva, likewise, suggested that since women could not become
an active part of the ‘symbolic order’, their writings expressed themselves in the
form of poetic language which she referred to as ‘genotexts’ (McCance 148), for
they evade the norms of language. The realization that language is an instrument
of oppression in the hands of patriarchy was one of the major developments in
feminist thought in the 1980s.
Language has been credited by many feminists as possessing a power which
allows it to control social relations in ways we are not privy to, disguising
patriarchal ideologies in misleading rhetoric. Dale Spender in her work Man
Made Language meditated at length on how unlike the declarative and assertive
manner of men’s writing, women’s writing was almost always deferential and
apologetic in its tone. Since then, language has been credited by many feminists
as possessing a power which allows it to control social relations in ways we are
not privy to. Spender goes on to also highlight how the connotations of masculine
forms of words tend to be more positive when compared with their feminine
counterparts and she states the example of the master-mistress word pair to
emphasize the same. (Kate McKluskie 51)
With language inevitably skewed in the favour of men, the obvious task before
women writers was to develop a language that was “their own”. Writers of the
last three decades of the twentieth century like Jeanette Winterson, Angela Carter,
Fay Weldon and Kathy Acker, among others, reflect what Helene Cixous described
as the “écriture feminine” in The Laugh of the Medusa. Their writings reflect a
female consciousness which bring into being styles, themes, diction and tropes
intrinsically distinct from male writers. Use of mystic language, puns, word play,
and even visual alterations such as hyphens and parentheses became common.
Their characters were more fluid and difficult to categorize. Jeanette Winterson,
for example, created characters marked by a certain gender fluidity; Angela Carter
tried to subvert patriarchy through the use of magical realism and through showing
absent father figures and focussing on mother-daughter relationships. In fact,
the emphasis on gender fluidity in the works of these writers and critics set the
stage for the gender-queer theories of the twenty-first century.

Activity 4: Can you think of some other ways of using language, employed
by women writers, to portray the oppression and trauma of women
characters?

Another seminal work of the 1970s was A Literature of Their Own by Elaine
Showalter. Showalter effectively divided the literary culture of the feminist
movement into three phases, that is, the feminine, the feminist, and the female
apart from charting the repetitive issues, tropes, symbols and style in women’s
writing. She also coined the term ‘gynocriticism’ to underline the employment
of a feminist framework for the analysis of women’s writing. Certain other works
like Simone de Beauvoir’s The Second Sex, Betty Friedan’s The Feminine
Mystique, Kate Millet’s Sexual Politics and Judith Butler’s Gender Trouble:
Feminism and the Subversion of Identity have influenced literature written by
women across the world. The task of feminist literary criticism is then to call
14
into question the legitimacy of masculine literary aesthetics and values that have Introduction to Women’s
Writing
been assimilated by both male and female writers. In the words of Annette
Kolodny’s, it pays “attentiveness to the ways in which primarily male structures
of power are inscribed (or encoded) within our literary inheritance: the
consequences of that encoding for women–as characters, as readers, and as
writers” (Cho 19) Most feminists would agree with the fact that literature serves
as an important instrument for the perpetuation of unequal power relations in a
society. By popularizing and reinforcing stereotypical portraits of women which
usually fall into two categories–that of the angelic mother and the predatory
seductress– literary texts naturalize these roles making them acceptable and
worthy for girls who are exposed to such texts.

Activity 5: Can you trace some examples of the portrayal of the power of
women and the mechanisms for ‘controlling’ them?

Some of the most incisive criticism of feminists has been directed at the way the
female body is perceived, specifically at the notions of what an ideal ‘feminine’
body should look like, what are fitting feminine behaviours which the body must
be trained to practice and also at her reproductive biology. In fact, it is the repeated
performance of certain roles prescribed by a culture-specific script that makes a
body gendered– an idea explored at length by Judith Butler. Consequently, a lot
of research has been done by feminist thinkers in the field of the ‘ethics of
embodiment’. Failure to embody a certain gender, class, race or other social
constructs is thus seen in most cases as a transgression which ultimately leads to
them being marked for oppression and/or ostracism. One such philosopher, Gail
Weiss points to specific feminist philosophers, critical race scholars, and disability
theorists who … illustrate, and ultimately combat, the insidious ways in which
sexism, racism, and “compulsory able-bodiedness” (McRuer 2006), impoverish
the lived experience of both oppressors and the oppressed, largely by
predetermining the meaning of their bodily interactions in accordance with
institutionalized cultural expectations and norms. (77)

1.4 WOMEN’S WRITING: THE INDIAN CONTEXT

With cultural norms becoming an important concern within feminist enquiry, the
need for feminist and cultural theories, that could cater to the needs of specific
groups of women (intersectional feminism) such as Blacks, Indians, lower-class
women etc., was deeply felt. To steer clear of essentialism, and of the
oversimplification of the experiences of women, became the major focus. The
influence of Western feminist philosophy has been unmissable in the way Indian
feminism has taken shape but the critical theories of the first-world countries are
absolutely divorced from the circumstances of women who are operating at the
grassroots. The whole idea behind ‘feminism without borders’ is to widen the
scope of feminism and to not privilege feminist theories about and by White,
middle class women. It thus emphasizes on the need to maintain cultural-
specificity when talking about women’s experiences.
To state an example, in nineteenth century Britain and America, the problems
addressed by feminists included the right to vote, to be free from wearing corsets,
to be allowed to hold meaningful occupations outside of the home etc. At about
15
Non Fictional Prose the same time in India, feminism encompassed such causes as the abolition of
the practice of sati, child marriage, female infanticide, restrictions on female
education, inheritance laws, etc. Even then, the reformatory efforts were largely
limited to upper class, and mostly Brahminical women. It was only later that
issues like women’s health, domestic abuse, wage legislation, the rights of the
tribal and the Dalit women were acknowledged. Such wide-spread disparity in
the issues being addressed speaks volumes about the need for culture-specific
feminism and women’s writing. Hence, the syllabus of this paper has been
designed in a manner that takes into account the various perspectives of women’s
writing to highlight the richness and diversity of women’s voices across
temporal and spatial boundaries. It brings together a spectrum of texts by and
about women.
The world of literature in the Indian subcontinent was for long marked by an
overpowering presence of male writers with women appearing on the scene late,
and garnering popularity and critical acclaim even later. When observed under a
feminist stance, the trope of having a voice and being listened to generally serves
as a symbol of agency, a trait which has originally been understood as a masculine
attribute. Most contemporary Indian women writers have emphasized on the
woman as an individual in her own stead, attempting to give their women
characters the freedom of self-definition, or in some cases, self-redefinition.
In the latter half of the twentieth century writers like Kamala Markandaya, Anita
Desai, Shashi Deshpande, Nayantara Sahgal, Githa Hariharan, among others,
became popular for exploring middle class women’s quest for fulfilment. But
there were authors like Ismat Chugtai, Amrita Pritam, Krishna Sobti, Gaura Pant,
Rashid Jahan who had dealt with women’s issues with unconventionality and
rigour in pre-Independent India as well. The Bhakti tradition has also been an
inalienable strand of India’s religious and literary tapestry and the writings of
women Bhakti poets like Akka Mahadevi, Andal, Jana Bai, Mira Bai, Lal Ded,
and Bahina Bai can be seen as the earliest manifestations of autonomy and liberty
in the face of the arbitrary and unbridled religious authority of the high-caste
Brahmin male.
Active resistance, as opposed to passively accepting oppression, has become
one of the major hallmarks of modern Indian women’s writing. They have
reiterated through their works the importance of bringing ‘women’ into the
category of ‘human’. Authors like Mahasweta Devi and Arundhati Roy have
managed to bridge the gap between activism and the academy and have employed
their works of fiction to voice their concerns about marginalized communities
such as women, Dalits, transgenders, tribals and have also levelled their strident
criticism against bureaucrats, policy makers, police officers and upper caste men.
Modern-day critic-writers like Nivedita Menon and Namita Gokhale have dealt
with other issues such as the threat that caste politics pose to women
empowerment, sexual harassment in the workplace, politicization within
households, intersectionality and queer identities. Activist-writers like Laxmi
Narayan Tripathi (the first transgender to represent his/her community at the
United Nations Organization) and Aka Revathi (the first transgender person to
write an autobiography) have also contributed to the amelioration of the
circumstances and status of gender-queer persons in India. However, queer theory
16 emerged in the West in the 1990s and most of what is identified as queer theory
in India today is an interpretation of the views of Western theorists rather than it Introduction to Women’s
Writing
being a culture-specific framework.
Feminism in India has come a long way with the setting up of centres of research
devoted specially to women, women’s organizations, NGOs fighting domestic
violence and child abuse, and the pioneering of women’s journals such as Indian
Journal of Gender Studies and ANTYAJAA. Critics and scholars like Rajeshwari
Sunder Rajan, Susie Tharu, Kumkum Sangari, K. Lalita, Nira Yuval-Davis and
Chandra Mohanty have published politically informed and nuanced works of
feminist enquiry rooted in the Indian context. Nonetheless, many critics are of
the opinion that feminism in India still has a long way to go especially with
respect to the intertwined areas of criticism and interpretation.
In India, the idea of the nation and the home surfaces time and again when
examining issues related to gender. Critics like Partha Chatterjee and Sudipta
Kaviraj have emphasized on how the “inside” was marked as the domain of
women–they were responsible for maintaining the home’s purity and sanctity.
The “outside”, on the other hand, was the man’s domain and a part of their task
was to shield the “inside” from the corrupting influences of the “outside”,
especially during the colonial regime. Likewise, the practice of looking at the
nation as being synonymous with a mother figure has been a source of debate
among feminist critics. Many of them have argued that it allows the man to
control the woman and the country under the guise of shielding her/it from harm.
Further, even if the nation state promises certain rights to women, these rights
are in conflict with the personal laws of their community and the latter often take
precedence over the former. Gayatri Spivak used the term “asceticism”
(Rassendren 22) in elucidating the manner in which the men of the house tried to
exert as much control within the house by regulating female desire. This ascetic
self-control was supposed to perpetuate a certain ideal of womanhood embodied
by such mythical figures as Sita and Savitri. Nira Yuval-Davis has also suggested
that “women are constructed as the symbolic bearers of the community’s identity
and honour, both personally and collectively” (45). Consequently any moral lapse
on their part is treated more harshly. This centrality of the family and the
community gives rise to an important challenge to Indian feminism–autonomy
and liberty for women in India needs to be established in a manner that does not
alienate them from their family, community and culture. Modern feminists have
also tried to engage with issues related to sex work. While many consider it as an
extension of patriarchy’s crimes against women and their tendency to relegate
women to the status of a mere object, others have suggested that sex work should
not be treated differently than any other profession and should be seen as what it
is — work. Interestingly, since these women never make it to mainstream
feminism, gender violence against these women is often overlooked.

Activity 6: The collectivistic community standards in India present layers

of restrictions to women writers for a true expression of their reality. Discuss.

1.5 LET US SUM UP

 Women’s writing across the world and in India has, since the beginning,
also seen the trend of autobiographical and semi-autobiographical 17
Non Fictional Prose writing. This trend garnered greater vogue in the latter half of the
twentieth century when ‘authentic realist’ feminist reading practices
stressed on the importance of knowing about the experiences of other
women through literature which would feed into their understanding of
their own lives. Such intellectual engagements with the lives of other
women helped women readers make sense of their own lives.
 By examining women as recipients of literary texts, we can analyze how
they employ these texts to challenge the narratives imposed on them by
the society. Feminist theories, therefore, concern themselves with not
only women as writers or producers of texts but also as readers and
consumers. Like their Western counterpart, autobiographical writings
by women in India have been endowed with increasing critical and
scholarly attention.
 Feminism in today’s times is a sprawling, manifold academic and political
concept. It insists on being change-oriented rather than being simply a
theoretical framework devoid of practical applications. Feminists argue
against the creation of a distinct academic field and instead insist on
integration with other fields of knowledge. To ensure this, the inclusion
of feminist values in the field of research is seen as an important
manoeuvre.
 The ultimate aim is to create the space and opportunity to unravel the
pervasive inequality present in the society, and suggest ways of dealing
with the same. Most critical works have, therefore, tried to engage with
‘materiality’ of texts, that is, with the works’ non-fictional aspects or
the works’ grounding in reality.
 Latter-day materialists have actually suggested that materiality brings
to the fore ‘things that matter’. Over the years, feminism has moved
from its limited scope to encompass a more critical understanding of
women’s experience.
 Not only are there different types of feminisms (Liberal, Marxist, Social,
Ecological, Cyber etc.) but the very meaning of the term ‘feminism’ is
open to debate and negotiation. From Simone de Beauvoir’s celebrated
epithet “one is not born, but becomes, a woman”, to notions of gender
performativity, to the acknowledgement given to subversive and ‘queer’
gender identities, feminism and gender studies have definitely come a
long way and have always been in a state of flux.
 Over the last few years, a growing body of work has explored the concept
of ‘doing gender’, that is, exploring how one’s gender is enacted in social
situations and interactions. Theorists today have also started analyzing
how body movements and gestures have also come to be recognized in
terms of an abiding gendered self. Suggestions have also been made
with regard to looking at feminism not as a movement about women but
about how performativity discourses prevalent in a society produce the
categories of man/woman and masculine/feminine.
 The largely heteronormative codes that have been followed for long
preclude the possibility of reflecting on the experiences of certain
18
 individuals (gays, lesbians, bisexuals, pansexuals, asexuals etc.) In the Introduction to Women’s
Writing
past few years, feminists have engaged with LGBTQ+ identities in their
works and have examined the part that literature can play in understanding
how diverse sexual relationships play out.
 Modern protagonists at once belong everywhere and nowhere. A
perpetual jostling for turf is evident in most works. In disproving the
myth of the heteronormative society, they bring to light a whole gamut
of diverse sexual manifestations.
 Gender, therefore, still remains a topic of much contention and debate.
Apart from the concerns of LGBTQ+ identities, feminists have also tried
to incorporate other oppositional movements in their fight for gender
equality, thereby widening their outreach. They have linked feminist
movements to anti-racist, anti-casteist, anti-classist, environmentalist,
and other movements.
 Thus, feminism has come to subsume many areas of knowledge and
experience. In the words of Elizabeth Fox-Genovese, “The cogency of
female literary culture as a whole lies in the multiplicity of its voices
and its insistence upon the collective foundation of individual
consciousness” (270)

1.6 AIDS TO ACTIVITIES

Activity 1 : For example, such retellings of mythological characters as
The Penelopiad by Margaret Atwood and Yajnaseni: The
Story of Draupadi by Pratibha Ray
Activity 2 : The emergence and relevance of the fourth wave of feminism
in the era of internet and technology for addressing problems
such as body-shaming, rape-threats, and sexual harassment,
among others
Activity 3 : The problem of stereotypes and generalizations with regard
to women writers, their writing styles, etc.
Activity 4 : For instance, fragmented narration and the use of silence in
Alice Walker’s The Color Purple to represent racial injustice
and gendered oppression
Activity 5 : Witch-hunts/trials, hysteria, madness, turning/ pitting women
against women, etc.
Activity 6 : Indian women writers through a history of restrictions and
oppression: family-honour, rules and norms of the social
space/ public domain, threats and trolling in cyberspace

1.7 GLOSSARY
 Analepsis - a literary device, where a past event is narrated at a
chronologically later point of time.
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Non Fictional Prose  Androgynous - having both masculine and feminine qualities
 Canons - Literary works considered to be the most important, influential
and of the highest merit.
 Chattel Marriage - A form of marriage where the wife becomes a
possession of her husband, devoid of all her rights and property which
too then belong to the husband.
 Embodiment - concrete representation of an abstract idea; here,
according to the normative and socially constructed ideas of categories
like gender and race.
 Gender - Social manifestation of sex as a social and cultural identity.
 Heteronormative - the concept of the gender binary and heterosexual
relationships as the only normal.
 Phallogocentrism - A term used in Critical Theory to refer to the
privileging of the masculine in understanding meaning.
 Prolepsis - a literary device, where a future event is narrated to have
occurred already before its turn.
 Sex - usually assigned at birth, based on the biological and anatomical
characteristics of a person.
 Suffragette Movement - 19th and early 20th century movement
demanding women’s right to vote in elections in the West.

1.8 UNIT-END QUESTIONS

1. Examine the categorization of Women’s Writing as a distinct literary
area. How is it approached in two ways: as a space for encouraging
writing, representation, and criticism by women; and, as a means of
rendering them the ‘other’, outside the zone of ‘mainstream’ literature?
2. What has the public response to Women’s Writing been like: from
ignorance and ostracization to trolling?
3. How do you see the rise of the new ‘New Woman’?
4. Comment on the role of Women’s Writing in representing the Nation.

1.9 REFERENCES & SUGGESTED READINGS

Cho, San Jeong. “Marking of the Feminine: The Possible Happening of the
Impossible.” An Ethics of Becoming: Configurations of Feminine Subjectivity in
Jane Austen, Charlotte Brontë and George Eliot, Routledge, 2006, p. 19.
Dawne, McCance. “L’écriture limite: Kristeva’s Postmodern Feminist Ethics”
Hypatia, vol.
11, no. 2, Wiley, 1996, p. 148. JSTOR, https://www.jstor.org/stable/3810268?read-
now=1&refreqid=excelsior%3A5cedee34c99894c6d5f0e98baf260b4c&seq=8#page_
20 scan_tab_contents. Accessed 26 July 2021.
Fox-Genovese, Elizabeth. “The New Female Literary Culture” The Antioch Introduction to Women’s
Writing
Review vol. 50, no. 1, Antioch Review Inc., 1992, p. 270-72. JSTOR, https://
www.jstor.org/stable/4612517?read-now=1&seq=1#page_scan_tab_contents
Accessed 6 October 2021.
Gilber, Susan & Gubar, Sandra. The Madwoman in the Attic: The Woman Writer
and the Nineteenth-Century Literary Imagination, Yale University Press, 2020,
p. 76.
McKluskie, Kate. “Women’s Language and Literature: A Problem in Women’s
Studies.”
Feminist Review, no. 14, Sage Publications, 1983, p. 51. JSTOR, https://www.
jstor.org/stable/1394654. Accessed 17 August 2021.
Nischik, M. Reingard. “On Being a Woman Writer: Atwood as Literary and
Cultural Critic.”
Engendering Genre: The Works of Margaret Atwood, Ottawa UP, 2009, p. 176.
Plain, Gill & Sellers, Susan. “Introduction.” A History of Feminist Literary
Criticism, edited by Gill Plain & Susan Sellers, Cambridge UP, 2007, p. 2.
Rassendren, Etienne. “Producing Nation: Gender and the Idea of India.”
Contemporary Women’s Writing in India, Lexington Books, 2014, p. 22.
Weiss, Gail. Body Images: Embodiment as Intercorporeality, Routledge, 1999,
p. 77.
Woolf, Virginia. A Room of One’s Own. Houghton Mifflin Harcourt, 2015, p.
103.

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