Sublime

She may agree with the poet Mary Oliver that “creative work needs solitude. It needs concentration. . . . It needs the whole sky to fly in, and no eye watching,” or with Gertrude Stein, who warned, “It takes a lot of time to be a genius, you have to sit around so much doing nothing, really doing nothing.”

Tillie Olsen wrote: “In the twenty years I bore and reared my children . . . the simplest circumstances for creation did not exist.” It was a physical problem, a time problem; it was also a question of selfhood. “The obligation to be physically attractive and patient and nurturing and docile and sensitive and deferential . . . contradicts and must

In 2019 the Emilia Report (named after England’s first published female poet, Emilia Bassano) analysed coverage of male and female writers and found that women were twice as likely to have their ages referenced – or, in the case of Sally Rooney, her appearance, ‘like a startled deer with sensuous lips’, according to one Swiss critic.

Charlotte Brontë explained the decision to use male names: ‘We did not like to declare ourselves women, because – without at the time suspecting that our mode of writing and thinking was not what is called “feminine” – we had a vague impression that authoresses are liable to be looked on with prejudice.’

When she was twenty Brontë received a letter from poet laureate Robert Southey saying ‘literature cannot be the business of a woman’s life & it ought not to be.’