Abstract
Jamie Barlowe may inaugurate a new stage of feminist metacriticism-like the first stage of feminist literary criticism in featuring the recovery, as Cynthia Jordan put it, of second stories in male-authored texts. In similar fashion, Barlowe screens maleauthored criticism for the presence of women. What she finds, of course, is Absence. After she read a shorter version of her essay at a Hawthorne Society session during the 1994 Modern Language Association convention, the male critics I spoke with reacted as I did. Mentally, we scurried to everything we had written on The Scarlet Letter, trying to remember how many women scholars we had cited. We felt like Hawthorne himself in the Cus-
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