{'fraction_non_alphanumeric': 0.02171664943123061, 'fraction_numerical': 0.004136504653567736, 'mean_word_length': 5.368421052631579, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
“Ashamed of the Inkpot”

This chapter reviews how Virginia Woolf criticized those women who wrote for money, especially in her representations of two elder female contemporaries, Lucy Clifford and Mary Augusta Ward. It analyses letters, diary entries, and reviews that reference Clifford or Ward, which evince a complex mix of emotions and beliefs about commercial success and mass-market popularity. It also traces the overlapping of sexual and market exchange in Virginia Woolf's The Voyage Out, where the prostitute figures an array of socioeconomic relations for unmarried and married women. The chapter refers to Catherine Gallagher's classic 1986 essay on the prostitute and the Jewish question in George Eliot's Daniel Deronda, which examines the historical associations between the female author and the whore. It mentions Rita Felski, who argued that the fin-de-siècle division between elite and popular culture gradually acquired an explicit gender subtext.