Abstract
The “new modernist studies”, coined by Mao and Walkowitz in their titular article in the May 2008 issue of PMLA, has been a boon for scholars who study women writers. As modernism has “softened its definitional gaze and relinquished its gatekeeping function” (451), as stated by Paul Saint-Amour in 2018, its scholarship has blossomed in variation and kind. An interest in gender, i.e. women writers, a long-policed, tacit demarcation in literary modernism, has increased and continues to prosper ...
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