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Creation, Publishing, and Criticism

The Advance of Women’s Writing


Edited By Maria Xesus Nogueira, Laura Lojo Rodriguez and Manuela Palacios

Since the 1980s, there has been an unprecedented and unremitting rise in the number of women writers in Galicia and Ireland. Publishers, critics, journals, and women’s groups have played a decisive role in this phenomenon. Creation, Publishing, and Criticism provides a plurality of perspectives on the strategies deployed by the various cultural agents in the face of the advance of women authors and brings together a selection of articles by writers, publishers, critics, and theatre professionals who delve into their experiences during this process of cultural change. This collection of essays sets out to show how, departing from comparable circumstances, the Galician and the Irish literary systems explore their respective new paths in ways that are pertinent to each other. This book will be of particular interest to students of Galician and Irish studies, comparative literature, women’s studies, and literary criticism. Both specialists in cultural analysis and the common reader will find this an enlightening book.


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Part II: Fiction 83


PART II Fiction Women Narrative Writers in Print: Facts and Fictions Mercedes Queixas Zas Galician Fiction: A Genre with Gender? A publisher is the last in the line of friendly hands that delivers us the gift of literary creation; it is the tailor dressed to the nines, fictive or otherwise; the last step in ascending to the pleasures of the word —poetic, narrative, scholarly, dramatized— on the public stage where our need to tell stories is clothed at last in printed or digital form. And all with a dash of modesty, out of our respect for readers to whom we offer a personal and complex conception of the space-time of our immediate or imagined reality, interpreted according to other imaginaries from times past or —daringly— from times to come. As publishers, we give body to the soul that first appeared to us as thoughts woven in the communion of words, in the analepsis or prolepsis of playful time, in the circumlocutory discourse of characters, in perceived ellipses, uncovered metaphors… A publisher exports, for divergent people and worlds, and in the face of imperiously uniform aesthetic cravings, an infinity of possible ways to understand and explain ourselves with which creators, male and female, keep feeding their own culture, rhythmically keying in pages and screens that were initially empty. Publishers’ catalogues also give visibility to the writers who breathe life into a literary corpus, those who make it real or, at least, tangible. However, if we analyse the world of Galician fiction...

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