Women entered the book trade in significant numbers in China during the late sixteenth century, when it became acceptable for women from “good families” to write poetry and seek to publish their collected poems. At about the same time, a boom in the publication of fiction began, and semiprofessional novelists emerged.

This study begins with three case studies, each of which probes one facet of the relationship between women and fiction in the early nineteenth century. It examines in turn the prefaces written by four women for a novel about women; the activities of a woman editor and writer of fiction; and writings on fiction by three leading literary women. Building on these case studies, the second half of the book focuses on the many sequels to the Dream of the Red Chamber—one of which was demonstrably written by a woman—and the significance of this novel for women. As Ellen Widmer shows, by the end of the century, women were becoming increasingly involved in the novel as critical readers, writers, and editors. And if women and their relationship to fiction changed over the nineteenth century, the novel changed as well, not the least in its growing recognition of the importance of female readers.

Beyond Feminist Aesthetics has a dual focus. First, Rita Felski gives a critical account of current American and European feminist literary theory, and second, she offers an analysis of contemporary fiction by women, drawing in particular on the genres of the autobiographical confession and the novel of self-discovery, in order to show that this literature raises questions for feminism that cannot be answered in terms of a purely gender based analysis.

Felski argues that the idea of a feminist aesthetic is a nonissue that feminists have needlessly pursued; she suggests, in contrast, that it is impossible to speak of “masculine” and “feminine,” “subversive” and “reactionary” literary forms in isolation from the social conditions of their production and reception. The political value of such works of literature from the standpoint of feminism can be determined only by an investigation of their social functions and effects in relation to the interests of women in a particular historical context. This leads her to argue for an interdisciplinary approach to the analysis of literature which can integrate literary and social theory, and to develop such an approach by drawing upon the model of a feminist counter-public sphere.

Rita Felski has produced a closely reasoned, stimulating book that creates a new framework for discussing the relationship between literature and feminist politics. It will interest students and teachers of women’s studies, comparative literature, cultural studies, and fiction.

"In this illuminating study Joanne Braxton shows the continuity and tradition in the writing of Afra-American women. An important work for teachers and students of Literature, History, and Women's Studies." --Gerda Lerner "As black American women, we are born into a mystic sisterhood, and we live our lives within a magic circle, a realm of shared language, reference, and allusion within the veil of our blackness and our femaleness. We have been as invisible to the dominant culture as rain; we have been knowers, but we have not been known." Joanne Braxton argues for a redefinition of the genre of black American autobiography to include the images of women as well as their memoirs, reminiscences, diaries, and journals--as a corrective to both black and feminist literary criticism. Beginning with slave narratives and concluding with modern autobiography, she deals with individual works as representing stages in a continuum and situates these works in the context of other writings by both black and white writers. Braxton demonstrates that the criteria used to define the slave narrative genre are inadequate for analyzing Harriet "Linda Brent" Jacobs's pseudonymously published Incidents in the Life of a Slave Girl: Written by Herself (1861). She examines "sass" as a mode of women's discourse and a weapon of self-defense, and she introduces the "outraged mother" as a parallel to the articulate hero archetype. Not even emancipation authorized black women to define themselves or address an audience. Late-nineteenth-century accounts in the form of confessional spiritual autobiographies, travelogue/adventure stories, and slave memoirs enabled such women as Jarena Lee, Rebecca Cox Jackson, Elizabeth Keckley, Susie King Taylor, as well as Harriet Tubman and Sojourner Truth to tell their own extraordinary stories and to shed light on the thousands of lives obscured by illiteracy and sexual and racial oppression. In her diaries, Charlotte Forten Grimké, the gifted poet, epitomizes the problems faced by a well-educated, extremely articulate black woman attempting to find a public voice in America. Moving into the twentieth century, Braxton analyzes the memoir of Ida B. Wells, journalist and anti-lynching activist, and the work of Zora Neale Hurston and Era Bell Thompson. They represent the first generation of black female autobiographers who did not continually come into contact with former slaves and who transcended the essential struggle for survival that occupied earlier writings. For the contemporary black woman autobiographer, the quest for personal fulfillment is the central theme. Braxton concludes with Maya Angelou's I Know Why the Caged Bird Sings (1996), which represents the black woman of the 1960s who has found the place to recreate the self in her own image--the place all the others had been searching for. "Braxton's book is scrupulously researched. She has been creative in finding resources and courageous in analyzing and interpreting her finds. This is the word of a diligent mind. The material is mountainous, yet the book sings. Braxton is a poet. Thank goodness." --Maya Angelou "Joanne Braxton's essays on black women's autobiographies delineate and illuminate the personal and historical dimension of an important literary tradition. Emphasizing the distinct character of Afra-American women's experience and relations with each other, she ground their writing of their lives in the struggles and triumphs of the lives they actually led." --Elizabeth Fox-Genovese "In this compelling and lucid study examining the content, context, and continuum of black women autobiographers, Braxton clears the place for it in the curriculum: at the center of black and feminist studies." --Paula Giddings "This is the fullest and most sympathetic study of black American autobiographers I know. By paying close attention to private and public history, to social networks and literary kinships, to narrative structures and patterns of imagery, Braxton leads her readers to see the black woman 'at the center of her own [written] experiences.' At once scholarly and passionate, Braxton's critique will immediately secure her a place among the leading analysts of black American autobiography." --Albert E. Stone "A highly readable and original contribution to the important fields of Afro-American studies, feminist criticism, and autobiographical narrative." --Elaine Showalter "Rich in empathy and insight, Joanne M. Braxton's trailblazing study attends to both the textual and historical dimensions of a powerful literary inheritance. She brings to bear a keen sense of the departures and continuities of which any tradition consists; and an appreciation of the distinctive Afro-American dynamic between literary convention and a vernacular substrate. Braxton doesn't just read--she listens." --Henry Louis Gates, Jr. "Joanne Braxton makes a unique contribution to the scholarship of American autobiography. Her focus on the outraged mother as a figure of rebellion is a significant challenge to our conventional understanding of autobiographical acts." --Hazel Carby "This is the most inclusive and thoughtful literary history of black American women's autobiography in existence…It is not just a collection of essays; it is well knit together and displays multiple traditions as they evolved and are in the process of evolving still." --William L. Andrews "This book marks another milestone in the critical appraisal of American autobiographical writings. In tracing the evolution of a tradition of black women in autobiography in America, Braxton takes us on the first journey of this kind: the black American woman's search for a dignified, self-defining identity through the rejection of traditional female roles. This book sets the tone for future studies of black women's autobiographies." --Nellie McKay

“Autumn wind, autumn rain, fill my heart with sorrow”—these were the last words of Qiu Jin (1875–1907), written before she was beheaded for plotting to overthrow the Qing empire. Eventually, she would be celebrated as a Republican martyr and China’s first feminist, her last words committed to memory by schoolchildren. Yet during her lifetime she was often seen as eccentric, even deviant; in her death, and still more in the forced abandonment of her remains, the authorities had wanted her to disappear into historical oblivion.

Burying Autumn tells the story of the enduring friendship between Qiu Jin and her sworn-sisters Wu Zhiying and Xu Zihua, who braved political persecution to give her a proper burial. Formed amidst social upheaval, their bond found its most poignant expression in Wu and Xu’s mourning for Qiu. The archives of this friendship—letters, poems, biographical sketches, steles, and hand-copied sutra—vividly display how these women understood the concrete experiences of modernity, how they articulated those experiences through traditional art forms, and how their artworks transformed the cultural traditions they invoked even while maintaining deep cultural roots. In enabling Qiu Jin to acquire historical significance, their friendship fulfilled its ultimate socially transformative potential.