It does seem, in other words, not only more difficult for a woman experimental writer to be accepted than for a woman writer (which corresponds to the male situation of experimental writer vs. writer), but also peculiarly more difficult for a woman experimental writer to be accepted than for a male experimental writer. She may, if young, get caught up in a “movement,” like Djuna Barnes, like H.D., like Laura Riding, as someone’s mistress, and then be forgotten, or if old, she maybe “admitted” into a group, under a label, but never quite as seriously considered as the men in that group.
