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The book of the woman is yet to be written and it remains for the woman to do it who is able and brave enough to strip herself clean to the soul; to know herself and let herself be known. The early years of modernism's development in England and America witness a lively public debate about sex in which women play a leading role.


As the epigraphs from sex reformers Margaret Sanger and Stella Browne suggest, modern women concur, despite other disagreements, that their time has come to "speak out" about sex, to re-present female sexuality. They choose to speak women's sex, to re construct female sexuality for a new century through language, but the sexism inherent in available discourses of gender and sexuality necessarily conditions, limits, and problematizes their efforts.

One goal of this essay is to understand better how writers like Sanger and Browne give voice to female sexuality using languages they perceive as fundamentally deformed by established sexual relations and social institutions. At the mina sex this public debate on sex reaches a fevered pitch, World War I ificantly reconfigures sexual and power relations between women and men at least for a timeeven as it reconfigures the various literary movements and practices of the prewar avant-garde.

My decision to consider as case studies a work of avant-garde lyric poetry and a work of popular science is intended to elucidate further the crucial role the discourses of lyric and science played in what Michel Foucault calls the "scheme for transforming sex into discourse," the "complex deployment for compelling sex to speak. Later, in the nineteenth century, modern medical science s the process, principally, Foucault contends, through a "biology of reproduction" and a "medicine of mina sex HS, More specifically, Loy's Love Songs and Stopes's Married Love clarify how women's writing during the World War I, whether literary and avant-garde or scientific and popular, articulates female sexuality by mingling lexicons of science and literature, intellect and sentiment.

At first glance, however, these texts appear incompatible: Love Songs is aggressively avant Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

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LOG IN. While her brother has often learned all the slang of the street before adolescence, the conventionally "decently brought-up" girl, of the upper and middle classes, has no terms to define many of her sensations and experiences. When she marries, or meets her first lover, she learns a whole new language, and often this language has been defiled in the mind of the man who teaches it to her, long before they met.

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