Writers with Entries

Orlando: Women’s Writing in the British Isles from the Beginnings to the Present is an on-line cultural history generated from the lives and works of women writers. The 1305 writers listed below—as British women, men, and other women—have their own entries in Orlando. Women whose nationality shifted are listed twice. More than 31,000 people and 7,500 organizations are mentioned or discussed somewhere in the textbase (in others’ entries and in the thousands of free-standing events), and dozens of these are writers without dedicated entries. For more information on Orlando visit http://www.cambridge.org/online/orlandoonline

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British Women Writers

 


Other Women Writers

 


Male Writers

 


Summary of Content
1,305 entries (1,025 British women writers, 175 male writers, 166 other women writers—listed twice if their nationality shifted); 13,607 free-standing chronology entries; 26,278 bibliographical listings; 2,499,869 tags; 8,075,393 words (exclusive of tags).

Writers with Entries (Initial Release)

Writers with Entries (January 2007 Update)

Writers with Entries (July 2007 Update)

Writers with Entries (January 2008 Update)

Writers with Entries (July 2008 Update)

Writers with Entries (January 2009 Update)

Writers with Entries (July 2009 Update)

Writers with Entries (January 2010 Update)

Writers with Entries (July 2010 Update)

Writers with Entries (January 2011 Update)

Writers with Entries (July 2011 Update)

Writers with Entries (January 2012 Update)

Writers with Entries (July 2012 Update)

Writers with Entries (January 2013 Update)

Writers with Entries (July 2013 Update)

Reviews of Orlando

Susan Fraiman in Modern Philology

Opening up Orlando reminds me of first seeing Judy Chicago’s installation The Dinner Party (a work likewise remarkable in form as much as content)—three decades later, it is still thrilling and affirming to have women’s countless contributions to Western culture and society made visible. What is new in the twenty-first century, however, is that now the guest list of history-making women is electronic—and there are always more seats at the table. In this sense, Orlando goes beyond earlier constructions of alternative canons, whose printed form tended to reproduce hierarchies of “major” and “minor” writers, not to mention the naturalization of a fixed tradition (143).

We might say, then, that Orlando’s narrative is grand not in its seamless hegemony but rather in its tireless productivity. Ceding narratorial agency to each user, this is a women’s history intrinsically committed to a process of continual revision and multiplication of variants (144).

Flexible, practical, and worldly in its approach to identity politics, Orlando is a good example of what I have optimistically begun to call the New Women’s Studies: feminist scholarship willing once again to proceed under the sign of “women”—not in defiance of theoretical work disaggregating “women” and destabilizing “identity” but precisely through having engaged with and processed this work to the point of making it our common sense (146).

Susan Fraiman. “In Search of Our Mothers’ Gardens—With Help from a New Digital Resource for Literary Scholars,” Modern Philology, August 2008, 142-48. (Available from Chicago Journals).
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