The anthology offers an impression of a subculture that has always existed but has never been taken seriously. Moreover it fills out a small part of the big hole that characterizes women’s place in history.From the blurb
Gretelise Holm in Politiken on the release date in 1977:
The question no longer was: Why were there no great women writers? But: Who were there? And why didn’t we know anything about them?
Quotation by Verena Stefan, used by Bente Clod in the introduction to the anthology Women Must Never Lose Sight of Each Other Again!, published today (date 1977) at Forum.
It is poetry and prose and stories by and about women, edited by Bente Clod, or as she puts it, they almost edited themselves:
When the publisher Forum came to me last fall, offering me the opportunity to edit this anthology of women writers I accepted with great joy. I realized that the book would come into existence on the borderline of the existing system, but I saw the offer as a challenge.Bente Clod explains about her preparatory work.
I dived into the so-called women’s literature to form an impression of the kind of things women had been writing earlier and presently. It was like being swept away by a flood of unlike whirlpools, a furious laughter of hundreds of voices, so diverse that they couldn’t possibly be put into one single category as women’s literature. It was literature, human literature if you please. Literature that formed unknown living conditions and their causes in words. Speaking calmly and pervasively without yelling, literature not primarily stemming from need for achievement or necessarily ending with a final point or an irreversible conclusion,
The result is an intriguing, poignant and varied read, strongly appealing to women but in no way unsuited for men. There are matter-of-fact accounts about women two generations ago – how they were imprisoned and force fed, because they were fighting for the right to vote […] there are poems of struggles, social poems and poems about the miserable conditions for women in traditional relationships. There is also a lot of material about how difficult it is for women to get acknowledged for their emotions and experiences and even more so to gain the right to deal with them artistically. There is writing about housework, about being tired when it is time to love one’s husband. And numerous other topics, specific for one half of humanity.
The authors are from the past and the present, domestic and international, famous and unknown. Some had to write furtively, enduring common disapproval from society. Others had more lenient conditions, but all of them struggled against what the American feminist Adrienne Rich calls WASP controlled cultural supplies, and many gave up the struggle and solely got the possibility of their break-through with the women’s movement’s own institutions.