Women Making Modernism

Click to increase image sizeClick to decrease image size

Notes

1 Quigley, “#MeToo, Eliot, and Modernist Scholarship.” Therein, Quigley references her original article in M/m Print Plus, “Reading ‘The Waste Land’ with the #MeToo Generation” (Mar. 4, 2019) in which she wondered why the new edition of The Poems of T.S. Eliot, edited by Christopher Ricks and Jim McCue, did not thoroughly annotate a reference to abortive pills. Ricks lambasted Quigley for her query in “To Criticize the Critic,” Essays in Criticism 69, no. 4 (Oct 2019).

2 Note that while #MeToo was founded by Tarana Burke to empower women to speak their experiences of sexual harassment and abuse by men, the movement now includes any abuse (of males or females) by any abusers (male or female).

3 Delsandro, “Introduction,” 9.

4 Ahmed, Living a Feminist Life, 140.

5 Ridge, “Writing Modernist Women,” 21.

6 Vandivere, “How Financial Speculation Created a Female Modernist Tradition,” 98.

7 Detloff, “Iconic Shade,” 207.

8 Ibid., 207, 215.

9 Delsandro, “Virginia Woolf and Mina Loy,” 195. I employed a “Delsandroian Productive Pairing” this semester when I taught Zadie Smith’s Intimations, a recent rumination of life during the Covid-19 pandemic, with Virginia Woolf’s exploration of feminist artistic identity in A Room of One’s Own. Both texts invite us to consider how our gendered embodiment contains and channels our phenomenological experiences with(in) the world.

10 Garrity, “The Haunting of Mary Hutchison,” 78.

11 Ahmed explains: “To be snappy is to be ‘apt to speak sharply or irritably.’ That certainly sounds like a feminist aptitude. Feminism: it has bite; she bites.” Ahmed suggests that to be “snappy” perhaps means that a woman simply won’t take it any more, and the very act of speaking out develops feminists with “willful tongues.” Ahmed, Living a Feminist Life, 190–191.