In lieu of an abstract, here is a brief excerpt of the content:720 Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. Julie R. Enszer “She Who Shouts Gets Heard!”: Counting and Accounting for Women Writers in Literary Grants and Norton Anthologies In 1979, the Coordinating Council of Literary Magazines (CCLM), a New York-based nonprofit that supported literary magazines through technical assistance and grant-making, announced a new program: CCLM editor fellowships.1 Editor fellowships came with a $5,000 grant. Members (...) of the literary community nominated editors to CCLM for the award. Adrienne Rich nominated Ellen Marie Bissert, editor of the feminist journal 13th Moon, and Mab Segrest, editor of Feminary: A Feminist Journal for the South Emphasizing the Lesbian Vision, for the editor fellowships. In 1979, the inaugural year of the prize, among the ten winners, not one was a woman. Bissert was one of three honorable mentions. Bissert rejected the distinction with a public letter to Maureen Owen, the only woman on the CCLM board of directors. Bissert deplored “the sexism inherent in the panelists’ decisions.”2 Several feminist publications reprinted Bissert’s letter while “the male small press gave it scant 1. The work of CCLM continues today, although now the organization is called the Council for Literary Magazines and Presses (CLMP). Under the leadership of Jeffrey Lependorf, the nonprofit organization continues to be a vital advocate for small magazines and publishers. 2. Open letter from Ellen Marie Bissert to Maureen Owen, June 28, 1980, CCLM Editors’ Grant 1980 folder, box 6, 13th Moon records, New York Public Library, Rare Books and Manuscripts Division (hereafter, CCLM folder). Julie R. Enszer 721 coverage.”3 As a result of Bissert’s objections, CCLM released the application statistics: 225 people were nominated, forty (18%) were women, and fifteen (7%) were non-white men. Of the 124 people who completed the applications, twenty-three (19%) were women and eleven (9%) were nonwhite men. There were thirty-three semifinalists, five (15%) women and four (12%) non-white men. These numbers shocked and outraged Bissert and other feminists. Adrienne Rich wrote to Maureen Owen, “I am appalled by the blatant sexism evidenced in the Council’s decision to fund ten male editors.”4 The attention that Bissert brought to the grant process resulted in a special meeting of the CCLM board to “discuss the controversy” and the awards.5 The next year, the CCLM editor fellowships went to five journals run by women and five run by men; one of the winners of the $5,000 award in 1980 was the editorial collective of Conditions, a magazine of writing by women with an emphasis on writing by lesbians.6 In a letter to readers of Conditions, the three editors, Elly Bulkin, Jan Clausen, and Rima Shore, noted that the “feminist protest following the announcement of the 1979 awards no doubt had an impact on the decision-making process” and that the award “represents the only substantial payment we have received, or seem likely to receive, for our editorial work, and we were greatly encouraged by it.”7 Maureen Owen acknowledged the importance of Bissert’s protests saying it “strengthened my position on the board at CCLM and the position of women editors and writers in general. She who shouts, get heard!”8 In 1979, Bissert, Rich, and other feminists demonstrated the importance of shouting about the inclusion of women in systems of literary appraisal; they recognized the important economic consequences of grants for feminist publishers and feminist authors. Thirty years later, in 2009, Cate Marvin and Erin Belieu founded VIDA: Women in Literary Arts to promote “conversations regarding the critical reception 3. Open letter from Bissert to Owen. 4. Rich to Owen, August 7, 1979, CCLM folder. 5. Open letter from Bissert to Owen. 6. Press release, June 11, 1980, CCLM folder. 7. Elly Bulkin, Jan Clausen, and Rima Shore, Conditions 7, unnumbered front matter. 8. Postcard from Owen to Bissert, undated, CCLM folder. 722 Julie R. Enszer of women’s creative writing in our current culture.”9 Each February or March since 2010, VIDA releases “the count”: a compilation of the gender breakdown of prizes, reviews, and literary journals in the United States. VIDA’s numbers demonstrate bias toward men in... (shrink)