Branching Out: Second-Wave Feminist Periodicals and the Archive of Canadian Women’S Writing Tessa Jordan University of Alberta

Branching Out: Second-Wave Feminist Periodicals and the Archive of Canadian Women’s Writing Tessa Jordan University of Alberta

Look, I push feminist articles as much as I can ... I’ve got a certain kind of magazine. It’s not Ms. It’s not Branching Out. It’s not Status of Women News. Doris Anderson Rough Layout

hen Edmonton-based Branching Out: Canadian Magazine for WWomen (1973 to 1980) began its thirty-one-issue, seven-year history, Doris Anderson was the most prominent figure in women’s magazine publishing in Canada. Indeed, her work as a journalist, editor, novelist, and women’s rights activist made Anderson one of the most well-known faces of the Canadian women’s movement. She chaired the Canadian Advisory Coun- cil on the Status of Women from 1979 to 1981 and was the president of the National Action Committee on the Status of Women from 1982 to 1984, but she is best known as the long-time editor of Chatelaine, Can- ada’s longest lived mainstream women’s magazine, which celebrated its eightieth anniversary in 2008. As Chatelaine’s editor from 1957 to 1977, she was at the forefront of the Canadian women’s movement, publishing articles and editorials on a wide range of feminist issues, including legal- izing abortion, birth control, divorce laws, violence against women, and

ESC 36.2–3 (June/September 2010): 63–90 women in politics. When Anderson passed away in 2007, then Governor- General Adrienne Clarkson declared that “Doris was terribly important as a second-wave feminist because she had the magazine for women and Tessa Jordan (ba it was always thoughtful and always had interesting things in it” (quoted Victoria, ma Alberta) in Martin). Anderson used a mainstream women’s magazine as a vehicle is a doctoral candidate for feminist advocacy, working within the Maclean Hunter publishing in the Department of empire to bring feminist content to mainstream readers. English and Film Studies Chatelaine’s often-overlooked feminist past has been analyzed by Val- at the University of erie Korinek in Roughing It in the Suburbs: Reading Chatelaine Magazine Alberta. Her dissertation in the Fifties and Sixties, published in 2000. Korinek’s study “demonstrates examines the Edmonton- the gendered tensions at work in the often idealized suburban consumer based 1970s feminist society and restores Chatelaine’s role in the growth of second-wave femi- magazine Branching nism in Canada” (23). Roughing It in the Suburbs expands our understand- Out and stems from ing of an iconic Canadian magazine and of second-wave feminism. While her research interests it is not surprising that the first book-length academic study to address in feminist activism, the connection between Canadian feminism and the periodical press is a women’s writing, study of Chatelaine—because of Chatelaine’s accessibility and continued regionalism, and print prominence among Canada’s magazines—Chatelaine is only a small part culture. of the story of the intersection between feminism and periodical publishing in Canada. Chatelaine may have been “the magazine for women” in Canada during Anderson’s tenure, but it was not radical enough for many Canadian feminists. Beginning in the late-1960s, first dozens and then hundreds of explicitly feminist periodicals were being published across Canada. Better-known titles include Tessera, Room of One’s Own (now Room), Fireweed, Broadside, Kinesis, Herizons, and Status of Women News, while lesser-known but more radical titles include The Pedestal, The Other Woman, Prairie Woman, The New Feminist, The Northern Woman, On Our Way, and Webspinner. In what follows, I provide a short cultural history of the lesser-known but only national feminist magazine published in Canada in the 1970s, Branching Out: Canadian Magazine for Women. I draw on book history, archival research, and interviews with Branching Out participants to tell Branching Out ’s story and locate this remarkable magazine within the Canadian 1970s and 1980s women-in-print movement, which was part of the international women-in-print movement that began in the 1960s with the rise of second-wave feminism and paralleled other forms of alternative publishing. During this period, increasing numbers of women began to establish feminist presses, publishing houses, periodicals, and bookstores as ways of countering women’s exploitation in the mainstream media and

64 | Jordan as a reflection of the common belief, despite ideological differences among feminists, in the power of the printed word. Publishing Canadian women’s visual art and literature alongside overtly political articles, Branching Out sought to bring the work being done by Canadian women from the margins into the centre by producing a general-interest feminist magazine with the production quality to sit on the newsstand next to Chatelaine—a remarkable feat considering the magazine relied almost exclusively on volunteer labour, grant funding, and donations for its entire seven-year history. In Anderson’s quasi-autobiographical novel, Rough Layout (1981), the tension between mainstream women’s magazines and feminist periodicals is played out with reference to Branching Out. The novel tells the story of Judith (Jude) Pemberton, a talented magazine editor working for Young Living, “a nice, middle-class, upwardly mobile magazine” for women (56). Jude has “feminist enthusiasm” (44), but she can only run a limited amount of feminist content in Young Living due to management and advertiser influence. A friend and former colleague of Jude’s, Lenore, acts as a foil for Jude and her cautious approach. While Jude attempts to run feminist content without ruffling management feathers, Lenore is frank and unapologetic about her feminist politics. Rough Layout ’s single mention of Branching Out comes when Jude and Lenore are out for lunch discussing the possibility of Lenore writing an article for Young Living about women in physically abusive relationships. Lenore wants to write a scathing critique of the nuclear family, while Jude attempts to persuade Lenore to write a more upbeat piece on support groups for abused women. In response to Lenore’s resistance, Jude becomes defensive: “ ‘Look, I push feminist articles as much as I can ... I’ve got a certain kind of magazine. It’s not Ms. It’s not Branching Out. It’s not Status of Women News’ ” (56). In Jude’s attempt to distinguish Young Living from overtly feminist publications, she names three periodicals that fit into distinct categories of feminist publishing. Ms., the most well known of the three, represents American influence on the Canadian women’s movement and was one of the few feminist forays into the advertising-driven publishing sphere. Status of Women News, published by the National Action Committee on the Status of Women, represents the branch of Canadian feminist activism largely associated with legislative issues. Its central mandate was disseminating information to facilitate feminist organizing. In contrast, Branching Out was a literary, cultural, and political magazine that attempted to walk the line between radical liberation papers and mainstream women’s magazines, addressing both the political and cultural

Branching Out | 65 lives of Canadian women from a Canadian perspective. Despite its broad appeal and large circulation numbers—four thousand, recorded by Ulrich’s Global Serials Directory1—Branching Out is the least remembered of these three feminist magazines. Rough Layout ’s reference to Branching Out concisely outlines the terrain of feminist periodical publishing in Canada and establishes Branch- ing Out as well known enough that in a work of popular fiction in 1981 Anderson could contrast Branching Out with her protagonist’s magazine in order to distinguish between what is viewed as mainstream and what is overtly feminist. Despite the fact that Branching Out folded the year before Rough Layout was published, Anderson could still refer to the magazine as a location for the feminist content that is ignored, watered down, or explicitly dismissed by the popular press. Branching Out should have a prominent place in the history of Cana- dian feminist periodicals because it was the first and only national general- interest feminist magazine published in Canada in the 1970s. Produced in Edmonton by a women-only collective made up exclusively of volunteers, Branching Out published fiction, poetry, photography, and visual art alongside film, music, and book reviews as well as non-fiction and journalistic writings about feminist issues. When the magazine underwent a redesign in 1977, after a four-month publishing hiatus due to financial difficulties, the editorial group decided to organize each issue around a theme to prevent repetition in the magazine’s content. The themes included Fash- ion and Feminism, Shaking the Motherhood Myths, Women and Politics, Women and Work, Our Bodies: Taking Control, and Women and the Envi- ronment. As this list suggests, the magazine covered a range of feminist issues. Topics treated between Branching Out’s covers are as diverse as women in sport, fishing rights for Inuit women, women’s medical rights, and Canada’s role in Vietnam. However, unlike smaller scale, radical liberation papers that emphasized political, manifesto-like writings, Branching Out highlighted women in the arts. While most second-wave feminist periodicals were committed to overtly political content, Branching Out consistently featured Canadian women’s literary and artistic pursuits. In

1 A circulation of four thousand is remarkably high for a non-profit, volunteer feminist publication. As a point of comparison, Ulrich’s Global Serials Directory lists the following circulation numbers for some better-known feminist periodicals: Broadside, twenty-five hundred;Fireweed , fourteen hundred; Kinesis, fifteen hundred; Room of One’s Own (now Room), one thousand. Also, in her 1982 report, “Feminist Print Media,” submitted to the Women’s Program Secretary of State, Eleanor Wachtel states, “In common with half the magazines published in Canada, most feminist periodicals circulate fewer than 2000 copies” (17).

66 | Jordan each of Branching Out ’s thirty-one issues there are an extraordinary number of full-page spreads devoted to poetry, visual art, and photography. These spreads are especially remarkable when compared to the dense, text- dominated layout of most feminist periodicals. For founding editor Susan As recent McMaster, what made Branching Out politically radical was its mandate to publish creative work by Canadian women, work that could not find periodical a place in the mainstream press or in little leftist and literary magazines. In the 1978 Guide to Women’s Publishing, a resource book for informa- studies tion on feminist journals, women’s newspapers, and women’s presses in North America, Andrea Chesman describes Branching Out as a “general scholarship interest feminist culture magazine” with both newsstand appeal and compelling content: “Published on glossy paper with plenty of art and photo- has indicated, graphs, one is content to just leaf through this magazine at first—afraid that the contents won’t justify the graphics, but they do—amply” (17). This periodicals can description identifies Branching Out as combining two distinct aesthetics: that of the glossy women’s magazine that lacks substantive content and unsettle that of the amateurish radical feminist publication that lacks the visual polish of its mainstream counterparts. Branching Out embraced this in- existing between location and, from its preview issue in 1973 to its final issue in 1980, delivered a quality feminist magazine to thousands of Canadian literary and readers. In this article, I begin the task of revaluing the writing published in the political Canadian feminist periodical press. As recent periodical studies scholarship has indicated, periodicals—because they include multiple authors, histories. forms, and subjects and because they frequently span several years—can unsettle existing literary and political histories.2 What sets Branching Out apart from the multitude of second-wave feminist periodicals published in Canada is its combination of feminist resistance and the arts, its wide circulation, and its location in Edmonton, a city that is not often recog- nized as an important site for feminist organizing.

Branching into an Archive of Canadian Women’s Writing The cover of the July/August 1976 issue of Branching Out features a black and white photograph of an Inuit woman, Eva Tirqtaq, taken by Pamela

2 Studying periodicals to revise our understanding of history is a common feature of Canadian periodical studies, with several examples published in the last decade: Editing Modernity, Dean Irvine’s return to Canadian leftist periodicals to question restrictive definitions of Canadian literary modernism in the first half of the twentieth century; Valerie J. Korinek’s study ofChatelaine magazine, Roughing It in the Suburbs, mentioned above, a “revisionist history

Branching Out | 67 Figure 1

of the fifties and sixties, and, in particular, of women’s roles and opportunities as they played out in the pages of Canada’s national women’s magazine” (9); The Woman’s Page, Janice Fiamengo’s study of six English Canadian women writers’ contributions to the Canadian periodical press between 1875 and 1915, a study which revises “condescending” accounts of late nineteenth- and early twentieth-century women’s participation in the public sphere; and the Early Canadian Periodical Project (2006 to 2012) undertaken by Canadiana.org with the mandate to digitize all pre-1920 Canadian periodicals, which will make a vast array of primary material available that represents the messy first stages of Canada’s social, political, and literary history. My own work on Branching Out also has a revisionist mandate, demonstrating that 1970s feminist periodicals were more than communication tools and that their literary and political experimentation requires scholarly attention as an important and overlooked aspect of Canadian feminist, periodical, and literary history.

68 | Jordan Harris and accompanied by the following headlines: “Inuit Woman,” “Por- tuguese Revolution,” “Finding T’ai Chi,” “Feminist Philately,” and “Habi- tat—Woman’s Place?” (see figure 1). These headlines refer to a photo essay by Pamela Harris in which “she presents her photographic and verbal impressions of the Inuit women at Spence Bay” (Introduction 20); a travel essay by Eloah F. Giacomelli, who was born and raised in Brazil and travels to Portugal “to reassess the heritage [she has] partly rejected as well as to learn about the nature of the Portuguese revolution” (10), accompanied by “Astray: Recipe for a Happy Home,” a poem by Portuguese poet Margarida Redondo, translated by Giacomelli (13), and featuring an analysis of the Portuguese revolution’s lack of interest in the status of women; Shirley Swartz’s3 introduction to the benefits of tai chi through the story of Mimi Mah, an artist who overcame depression by practicing tai chi; Helen Fitz- patrick’s brief history of representations of women on Canadian stamps and advice on how to influence stamp content to feature more women; and an editorial by Linda Duncan on the “Habitat Forum, the United Nations non-governmental Conference which had the potential to give direction for the future planning of the world’s man-made environment” (9), a conference that Duncan attended and, in her editorial, admonishes because an “important component … received little consideration—the role of women in the planning process” (9). In addition to these diverse feminist issues, the arts feature prominently with seventeen of the issue’s forty-eight pages devoted to poetry, short fiction, illustrations, and photography. This July/August 1976 issue of Branching Out includes writing by Canadian women who would later become well known—that is, lawyer and Member of Parliament Linda Duncan and literary critic Shirley Neuman (in Branching Out, Neuman published under her then-husband’s name, Swartz). In addition, while none appear in this issue, well-known Canadian women—such as Margaret Atwood, Margaret Laurence, Rosemary Brown, Aritha van Herk, and Dorothy Livesay—are scattered across Branching Out’s issues. Researchers could make much of these famous Canadians’ contributions to a Canadian national feminist magazine, and they could look to Branching Out for the early writings of later well-known poets such as Lorna Crozier and Marilyn Bowering, and their findings would be valuable contributions to Canada’s political and literary histories. However, in contrast to the traditional mode of studying the periodical as textual

3 Swartz later reverted to her birth name Neuman and is now well known for her scholarship on Canadian literature and work as a university administrator.

Branching Out | 69 repository rather than a unique genre, I follow the emerging periodical studies model in order to broaden the Canadian feminist and literary landscapes by studying Branching Out’s entire history. The summary of the July/August 1976 issue is illustrative of the range of material published between Branching Out’s covers. While it would be easy to justify studying Branching Out by pointing to the big names who published in the magazine, this justification would be in keeping with neither Branching Out ’s nor the women-in-print movement’s mandate to demonstrate that all women, not just the exceptional few, should have access to the power of the printed word “to illuminate, to expose, and ultimately, to transform” (Pulling 14). Publishing ventures like Branching Out sought to involve women of varying skill levels in all aspects of the communications circuit, so that women could write, publish, and read their own words. In the same way that many women’s groups wanted to avoid creating star individuals, within the women-in-print movement the revolutionary power of the printed word centred on increasing access to the means of literate production—the promotion of the many as opposed to the few, who were already featured in the mainstream press. While access to this alternative communications circuit was mediated by women’s race, class, geographic location, and sexual orientation, openness was key to the functioning of this alternative print culture. As former Branching Out business editor Mary Alyce Heaton colourfully describes in a recent interview, inclusivity was at the heart of Branching Out’s mandate: We were intent upon treating all women as equals. We were intent upon being inclusive rather than exclusive. We recog- nized that as a publication we had some choices to make, but we didn’t regard those as inclusionary or exclusionary. We regarded them as necessity. And so, you could be a contributor from Toronto, or you could be a contributor from boondoggle BC and we felt that your work was to be all judged on the same plain. You … could be a snotty academic, or you could be an uneducated farm woman. That didn’t matter. Your work was all given equal consideration, equal justice. That was what the sisterhood was about. During the course of our conversation, Heaton referred to Branching Out’s mandate as “promot[ing] the work of women,” putting women’s work “in the public eye,” expanding the field of Canadian art and letters to include not just “notable women” but “all the others,” and “validating” the work by these “others.” Heaton repeatedly emphasized the importance of “the sisterhood” and of being inclusive. While the limitations of “sisterhood” as

70 | Jordan it was conceived in the 1970s have been thoroughly critiqued by academics and activists alike, it is nonetheless important to note that Branching Out took a more inclusive position than mainstream and little literary magazines when it came to publishing work by women. One of the main themes present in my interviews with Heaton and other Branching Out participants is the role Branching Out played in addressing the discrepancy between publishing opportunities for men and for women—the same role played by the women-in-print movement at large.

Feminist Periodicals: An Unacknowledged Multitude In contrast with Doris Anderson, who was working within the relatively well-financed Maclean Hunter publishing empire to bring feminist content to her readers, there has been a multitude of Canadian women producing feminist periodicals without adequate financial support and often on a volunteer basis since the 1960s. In her 2002 article “Feminist Periodicals and the Production of Cultural Value: The Canadian Context,” Barbara Godard identifies feminist periodicals as an area of Canadian women’s writing that has gone virtually undocumented. As Godard describes, “In the upsurge of energy at the beginning of the Second Wave feminist movement, many women’s groups launched publications to communicate with members and often with the general public. Since the late-1960s, there have been more than 300 feminist publications in Canada—newsletters, newspapers, periodicals, magazines” (212). Despite this staggering number of feminist periodical publications, there has been little critical attention paid to this aspect of twentieth-century Canadian women’s writing. Godard’s analysis provides a useful introduction to Canadian feminist periodicals and their role as “spaces for criticism of government policy, for presenting alternative visions of democracy and gender relations” (209). Godard traces the development of feminist periodical publishing in Canada from the 1970s through to the 1990s, arguing that “Changes in the scope and orientation of feminist periodical publishing relate to shifting policy directives of the Canadian State” (209). She identifies the early to mid-1980s as a “high-point in the recognition of feminist culture in Canada” (209); to support this claim, Godard points to several factors: the number and range of Canadian feminist periodicals being published in the mid-1980s;4 the “insertion into the new Bill of Rights (1982) of Section 15, prohibiting discrimination on the grounds of gender” (209); and the 1984 4 Enough to warrant Canadian Research Institute for the Advancement of Women (criaw) support for a Canadian Women’s Periodical Index. As Godard explains, “Not only was a great variety of feminist periodicals published within the cultur-

Branching Out | 71 federal election’s televised party leaders’ debate on women’s issues. This high point was followed by a downturn in Canadian feminist periodical publishing precipitated by persistent cuts in state funding throughout the late-1980s and 1990s to both women’s and cultural programs; according to Godard, these cuts explain the “declining fortunes of feminist publishing” (210). Because Godard is “interested in using the example of Canadian feminist publishing to raise more general theoretical questions about the creation of cultural value” (210), her analysis emphasizes the interac- tion between feminist periodicals and the market economy. The article is primarily a critique of the neo-liberal “political climate that favours a decreased role for state intervention to counter-balance market-place forces” (210) and a challenge to Pierre Bourdieu’s materialist approach. Godard explores the nature of cultural value and symbolic capital within the Canadian feminist sub-field and exposes Bourdieu’s “lack of attention to gender differences” (210) within the field of cultural production, arguing that “feminist editorial collectives participate in an economy of the gift rather than one of accumulation” (209). She uses gender to question Bordieu’s emphasis on the value of disinterestedness, arguing that lack of profit does not translate into symbolic capital within the feminist sub- field. Godard provides an extremely valuable revisioning of Bourdieu and critique of decreased state intervention. In doing so, she calls attention to the largely unexplored archive of Canadian feminist periodicals. Ranging from local women’s centres’ mimeographed newsletters to nationally distributed feminist magazines with high production values, these periodicals were organizing tools, centres for debate, and publishing opportunities for Canadian women writers. In her recent book on feminist literacy practices, Kathryn Thoms Flannery explains, “periodicals invited readers to involve themselves actively, to join in the work, not simply as consumers of the word but as creators of the word” (51). Such a par- ticipatory model was in keeping with the philosophy of the international women-in-print movement. Charlotte Bunch, one of the most prominent

al field in Canada then [1985 to 1986], but these were judged significant enough for the academic institution to require indexing” (209). In addition to criaw’s Canadian Women’s Periodical Index, the Canadian Women’s Indexing Group at the Ontario Institute for Studies in Education produced the Canadian Feminist Periodical Index 1972–85, and Eleanor Wachtel assembled “Canadian Feminist Periodicals: A Directory” (1986). Godard also makes reference to the “Directory of Canadian Feminist Periodicals published for the Third International Feminist Bookfair in Montreal” (215); my research indicates that this directory is likely the one that Wachtel produced in 1986.

72 | Jordan participants in the American women-in-print movement, insists that the printed word is “one of the tools of revolution” (71). Bunch was active in the women-in-print movement as founding editor of two Washington, D.C., feminist periodicals (Quest: A Feminist Quarterly and Women’s Libera- This belief in the tion); she explains her interest in print as her “sense that the basic tools of thinking, for being able to think imaginatively, for being able to think for printed word, yourself, grow out of people being able to read and write” (71). Feminist periodicals were more than the reflection of a social and political move- with its long ment; they were spaces for defining, debating, and revising the movement’s mandate. Feminist periodical producers and contributors were not simply history in communicating with and on behalf of the women’s movement; they were constructing this movement by writing and publishing their work. radical and This belief in the printed word, with its long history in radical and reform movements, was the lifeblood of the women-in-print movement, reform which was at the centre of second-wave feminist organizing in Canada. In a report on Canadian feminist periodical publishing submitted to the Wom- movements, was en’s Program Secretary of State, Eleanor Wachtel goes so far as to claim that within the movement, “Print has been circulated as a kind of advanced the lifeblood of guard” (“Feminist Print Media” 28), acting as a specific organizing tool and providing “a visible, tangible correlate for an amorphous movement” (23). the women-in- Feminist periodicals were correlates of the women’s movement in the sense of having a mutual relationship, of being mutually constitutive. They were, print as Wachtel claims, an “advanced guard” that both defined and was defined by the women’s movement. As correlates, feminist periodicals were ways movement. to reach women who were not already members of feminist groups, ways to communicate with women in the movement, and places for Canadian women writers to publish their creative and political writing.5

5 Despite the multitude of women breaking into print and the volume of writing published in the Canadian feminist periodical press, there has been very little scholarly attention paid to second-wave feminist periodicals in Canada and internationally. In the Canadian context, other than Barbara Godard’s work, there are Lois Pike’s “A Selective History of Feminist Presses and Periodicals” (1985), Becki Ross’s “Tracking Lesbian Speech: The Social Organization of Les- bian Periodical Publishing in English Canada, 1973–88” (1992), Margie Wolfe’s “Working with Words: Feminist Publishing in Canada” (1982), Eleanor Wachtel’s two reports to the Women’s Program Secretary of State on feminist print media (1982, 1985) and her “Canadian Feminist Periodicals: A Directory” (1986), the Canadian Women’s Indexing Group’s Canadian Feminist Periodical Index, and the Canadian Research Institute for the Advancement of Women’s Canadian Women’s Periodical Index. While these articles, reports, and indices are all valuable sources of information on the Canadian feminist periodical press, they barely scratch the surface of this immense archive of Canadian women’s writing.

Branching Out | 73 Although Godard’s estimate—that more than three hundred feminist periodicals have been published in Canada since the late 1960s—seems surprisingly high, my own research has shown that it is, in fact, conservative. The current Canadian Women’s Movement Archives cwma( ) periodical list contains over nine hundred titles.6 The cwma, now located at University of Ottawa Archives and Special Collections, were founded by Pat Leslie. The archives’ origins and mandate prior to their transfer to the University of Ottawa are explained in detail in Lynda Curnoe’s unpublished paper “Canadian Women’s Movement Archives: A Description and Evalu- ation.” As Curnoe describes, the cwma have been directly related to Cana- dian feminist periodical publishing from their inception because cwma founder Pat Leslie was one of the editors of the Toronto-based feminist newspaper The Other Woman. When the newspaper folded in 1977, Leslie saved its records and began collecting the records of other defunct feminist publications and organizations. Leslie kept these records in her apart- ment until 1983 when she received federal grant money that enabled her, along with other members of the Toronto Women’s Information Centre collective, to establish an independent feminist archive with a mandate to collect the records of post-1960 grassroots women’s organizations across Canada. In 1992 the collection was transferred to the University of Ottawa Archives and Special Collections. The importance of feminist periodicals in the development of the Canadian women’s movement is underscored by the cwma’s origin story: the collection began with the records of a single feminist newspaper, and by the time it was transferred to the University of Ottawa it contained hundreds of periodicals produced by women committed to making spaces for women’s voices. The three-fold increase from Godard’s estimate is dramatic in its own right but becomes an even more compelling statistic when we consider that the cwma periodicals list only includes titles held by the cwma at the University of Ottawa. While the cwma’s list is the most complete record that exists, this list of over nine hundred titles cannot be considered exhaustive. For example, the list does not include Branching Out, which Godard herself refers to as a key national publication (213). While the list does contain forty-three titles published in Alberta, twenty-six of which were published in Edmonton, the list does not include Branching Out, which was arguably the most significant feminist periodical published in Edmonton because of its national focus, generalist approach, newsstand

6 This list has been updated to include holdings to 2006.

74 | Jordan appeal, and literary/artistic merit.7 Branching Out was included in the cwma’s periodicals list of 7 February 1991 (the list that most accurately represents the titles that were transferred from Toronto to Ottawa in 1992); however, at some point between 1991 and 2006, Branching Out was removed from the cwma’s periodical list because of a policy that transferred more widely disseminated feminist periodicals to the general collection at the University of Ottawa’s Morriset Library. As the only Canadian “broadly-based national magazine” published in the 1970s that “could rival Ms. in its appeal” (Wachtel, “Update on Feminist Periodicals” 13), Branching Out was (for a time) well known within the feminist community and, consequently, classified as widely disseminated enough to be excluded from the special care afforded to archival materials. Yet Branching Out has almost completely fallen out of the historical record. As time passed, the fate of Branching Out proved to be much the same as that of the lesser-known, regionally focused feminist magazines and newspapers that maintained their places on the cwma’s periodicals list. Ironically, because of the University of Ottawa Archives and Special Collections feminist periodicals transfer policy (which has since been discontinued) one of Canada’s most widely read and highly valued feminist periodicals has an even more obscure place in the archive of Canadian women’s writing than the smaller-scale feminist magazines and newspapers that are preserved at the cwma. Branching Out’s omission from the cwma periodicals list parallels the lack of attention paid to the women-in-print movement in accounts of second-wave feminism. One could say that the central role that the women-in-print movement played in the women’s movement is invisible because of its prevalence. In the Guide to Women’s Publishing, Joan and Chesman even go so far as to claim, “More than any other movement in history, Feminism has been identified with publishing” (3). Although this claim may be considered an overstatement and is certainly difficult to prove, the fact that it was made in 1978 during the height of the women- in-print movement in North America suggests that print was vitally important to the women’s movement.

7 Although Branching Out does not appear on the periodical list, there are two sets of documents related to the magazine at the University of Ottawa Archives and Special Collections: one file in box 5 of the Canadian Women’s Movement Archives Fonds (X10-1), which includes correspondence, advertising rates, and other material collected by Pat Leslie, and the 2006 Sharon Batt donation, which is eight uncatalogued boxes that the archivists at University of Ottawa Archives and Special Collections have generously allowed me to consult.

Branching Out | 75 In Feminist Literacies, 1968–75, Kathryn Thoms Flannery argues that “retrospective accounts of midcentury feminism tend to discount literacy’s role in the movement” (2). These accounts fail to acknowledge that “feminists were engaged in activities to increase women’s access to the means of literate production and in the process reconceptualizing what literacy could be or do in feminist terms” (3) and that these literacy practices were at the heart of the women’s movement. In her study, which is the first extended treatment of North American feminist literacy practices (and devotes a chapter to American feminist periodicals), Flannery focuses on how feminist activists “took cultural materials and practices not necessar- ily intended for them and turned those materials to their own use” (14). Like their American counterparts, Canadian feminists also seized “the means of literate production” to both organize and define the women’s movement as is evident in the range and number of Canadian feminist periodicals and in the central role that independent feminist publishers played in the dynamic discourses of Canadian feminism.

Branching Out: “Beyond the first growth of radical feminism” In her recent memoir The Gargoyle’s Left Ear, Susan McMaster, founding editor of Branching Out, recalls the events that led her to post the “two dozen day-glo pink announcements” (15) that brought seventeen women together to produce “the first national feminist magazine in Canada” (16). Having recently moved from Ottawa to Edmonton so her husband could pursue his studies at the University of Alberta, McMaster found herself alone much of the time and without adequate reading material. The hours she did not spend teaching elementary school on a part-time basis McMaster filled by reading Harlequin Romances, “sometimes two a day” (13). She remembers noticing, “Other than the Harlequins, there’s Good Housekeeping, Redbook, Cosmopolitan. Chatelaine is still the only Canadian choice” (14). In a conversation with her husband, which she replicates in her memoir, McMaster says that Ms. magazine is good but has no equivalent in Canada. This brief survey of women’s magazines in 1972 clearly illustrates the lack of a viable Canadian feminist alternative to mainstream women’s magazines. While regional feminist newspapers were beginning to be produced as early as the fall of 1969 (for example, The Pedestal, published by the Vancouver Women’s Caucus), in 1972 there was no feminist periodical publishing venture in Canada that sought a national audience and had the newsstand appeal of Ms. or Chatelaine. Into this void, McMaster cast her “two dozen day-glo pink announcements,” and by December 1973 the preview issue of Branching Out was in

76 | Jordan circulation (see figure 2), graced with poems by Margaret Atwood; a short story by Dorothy Livesay; articles on “Indian Rights for Indian Women,” latchkey kids, and champion trap shooter Sue Nattrass; an interview with Margaret Laurence by June Sheppard; and book reviews by Maureen Sco- bie and Susan Musgrave. McMaster’s memoir reminds readers of this extraordinary participation: “This level of contribution and support is astounding for a preview issue of a non-commercial publication. Almost every budding feminist in town hears about it, and wants to help” (16). Very few sources exist that refer to Branching Out in any detail. With notable exceptions, which I discuss below, Branching Out has disappeared from the historical record. Even Judy Rebick’s 2005 memoir of second- wave feminism in Canada, Ten Thousand Roses: The Making of a Feminist

Figure 2

Branching Out | 77 Revolution, which includes references to many other Canadian feminist periodicals of the period, fails to mention Branching Out, despite the fact that Branching Out was the only national feminist magazine published As the story in Canada in the 1970s. As the story of Canadian second-wave feminism begins to be told, the emphasis tends to be on Canada’s larger centres— of Canadian Vancouver, Toronto, Montreal—which obscures the activities of women outside these centres. Branching Out enables us to recognize the important second-wave feminist work accomplished in the prairie city of Edmonton, which many would consider a feminist backwater because of the conservative politics feminism begins associated with Alberta. While references to Branching Out that help contextualize its rela- to be told, the tionship to the larger field of feminist periodical publishing and to the larger women’s movement are relatively few, they are nonetheless reveal- emphasis tends ing. As discussed above, Doris Anderson’s reference to Branching Out in Rough Layout reveals how the magazine was perceived by a well-respected to be on veteran of mainstream women’s publishing and how Branching Out was expected to signify for the novel’s readers, as a feminist magazine Canada’s larger with uncompromising political content. For more explicit information on Branching Out’s specific cultural and ideological location within the centres. terrain of Canadian feminist periodical publishing, one turns to Elea- nor Wachtel’s two reports to the Women’s Program Secretary of State on Canadian feminist periodical publishing. These reports commissioned by the Women’s Program are the most comprehensive accounts of 1970s and 1980s Canadian second-wave feminist periodical publishing in existence. The first report, “Feminist Print Media,” was submitted in 1982 and had the following mandate: The Contractor will prepare and submit to the Women’s Pro- gramme a paper of at least 30 pages which assesses the social impact and financial context of feminist newspapers and magazines in Canada. This paper will include an assessment of the extent to which the feminist print media contribute to improv- ing the status of women in Canada. The paper will also include recommendations to the Women’s Programme for appropriate mechanisms of support to these organizations within the current funding capability of the Women’s Programme. (1)

This mandate enabled Wachtel to gather data on a range of Canadian feminist periodicals and further proves Godard’s claims that the early to mid-1980s was a “high-point in the recognition of feminist culture in Canada” (209). This 1982 report was followed up in 1985 with Wachtel’s

78 | Jordan “Update on Feminist Periodicals,” which was the “Presentation of a final report to Women’s Program to serve as an update to 1982 study on the state of feminist print media in Canada and proposing new recommendations for funding policy and strategies for joint action where appropriate” (1). These two reports are valuable sources for research on Canadian feminist periodicals and are illustrative of a historical moment when state support for feminist culture, although not sufficient, was greater than anything the movement had seen before or since. “Feminist Print Media” and “Update on Feminist Periodicals” were written and submitted two and five years after Branching Out folded, but because they rely on contemporary and historical data to outline the “social impact and financial context of feminist newspapers and magazines in Canada,” they provide invaluable insight into the field in which Branching Out operated. In a section of “Feminist Print Media” entitled “The Range and Scope of Canadian Feminist Print Media,” Wachtel explains that she divided feminist periodicals into four categories: literary/arts, scholarly/academic, special interest, and general interest. According to her definitions, Branching Out falls under the category “general interest” (despite its emphasis on literary/arts content) and can be described as a Canadian rival to Ms. magazine (16). The fact that two years after Branch- ing Out folded it was being remembered as a rival of the most well-known feminist magazine published in North America attests to the prominent place that Branching Out held in the Canadian periodical publishing field. Wachtel goes on to characterize Branching Out in terms of a readers survey conducted by Branching Out in 1975; this survey “revealed that many subscribed not simply because it was feminist, but Canadian feminist” (16). When Branching Out folded in 1980, Canadian readers had to wait until 1985 for the next “broadly-based national magazine” that could “rival Ms. in its appeal” (Wachtel, “Update on Feminist Periodicals” 13). Winnipeg-based Herizons was the next Canadian feminist magazine that was broadly based enough to rival Ms. in the same way Branching Out had in the 1970s. Herizons began publishing in 1979 as a regional newspaper and had evolved into a national feminist magazine by 1985. The fact that both Branching Out and Herizons were published in prairie cities, rather than the metropolitan centres of Vancouver, Toronto, and Montreal, suggests not only that there was a thriving feminist movement outside of these assumed activist centres but also that prairie women wanted to affirm and promote a national feminist consciousness in Canada. From its inception, Branching Out positioned itself as a rival of both Ms. and Chatelaine, while emphasizing its ideological distance from small-

Branching Out | 79 scale liberation newspapers and traditional women’s magazines. The editorial published in Branching Out’s preview issue indicates that the magazine would not be limited to either radical or traditional content: “either the traditional problem of how to get and keep a clean house and faithful husband, or the radical political questions which centre around the issues of female liberation and nationalism” (McMaster, “Branching To?” 3). This editorial firmly positionsBranching Out as a general-interest magazine with a feminist consciousness, a magazine for women who may or may not be involved in radical feminist organizing but who are pushing beyond traditional notions of womanhood. The editorial goes on to outline its national focus: “Our aim is to provide a forum for the discussion of subjects relevant to Canadian women, whether these subjects are as general as current trends in English literature or as specific as the effect of certain Canadian divorce laws on women” (3). A magazine that sought to balance Canadian women’s literary, cultural, and political interests, Branching Out was unique in its nationalist appeal to both the mainstream and overtly feminist communities. Branching Out defined itself in relationship to three distinct categories of feminist periodical publishing: as a Canadian version of Ms., an overtly feminist version of Chatelaine, and a newsstand-friendly version of radical feminist liberation newspapers and magazines. This location within the terrain of feminist periodical publishing is evident in the preview editorial’s explanation of the magazine’s title: “Without cutting ourselves off from our roots, we hope to reach beyond the first growth of radical feminism towards an awareness of female culture” (3). The appeal to a Canadian female culture was an appeal to a wider audience than could identify with Branching Out’s more radical, small-scale counterparts. While any evoca- tion of a unified “female culture” can be considered contentious because it does not account for the diverse socio-economic positions occupied by women in Canada, Branching Out often attempted to account for such diversity alongside its evocations of unity. For instance, in the same editorial that refers to “female culture,” McMaster also highlights difference: “We have interviews with women in areas as different as pioneering in Alberta and trapshooting in Mexico. We have articles on topics as varied as the status of Indian women who marry ‘out,’ innovations in daycare, and what it was like to be a female writer fifteen years ago” (3). Unlike Branching Out, which sought a larger and more mainstream audience and had the production quality to sit on the newsstand next to Chatelaine, small-scale feminist periodicals tended to have amateur aesthetics; they were often mimeographed and stapled, in the form of a small

80 | Jordan community newsletter, or printed as tabloid newspapers. This amateur aesthetic dominated feminist periodicals for two reasons: one, because most feminist periodicals were produced by women with little or no publishing experience and without adequate resources to conform to mainstream periodical aesthetics; two, because feminist periodicals actively resisted conforming to an aesthetic that valued “gloss” over substance. In some cases due to material circumstances, in other cases an aesthetic choice, these amateur aesthetics played an important role in locating feminist periodicals outside of mainstream publishing, transforming the material object’s amateur appearance into a political statement. In this sense, the amateur aesthetic of many feminist periodicals should not be read as a lack of skill but, rather, as an aesthetic choice not to conflate “gloss” and value. Unfortunately, these amateur aesthetics led to the charge that feminist periodicals were special interest but not quality publications. In response to this charge Joan and Chesman argue that while “it is true that feminist publishing standards do vary,” this variance “is one of [the feminist media’s] greatest strengths” (4). In their Guide to Women’s Publishing, Joan and Chesman express the “hope that women’s publishing will never get so rigid that it can stringently define good and bad, because out of the most casual, most spontaneous expressions, are the seeds for new creation” (4). This hope recognizes the value of feminist publications’ amateur aesthetic because this aesthetic can lead to innovation instead of promoting stagnation. The value of amateurism is one of the defining features of the women-in-print movement of the 1970s and 1980s. Rather than associat- ing the amateur with the unskilled, many feminist media producers saw the amateur as a way to avoid reproducing ideas based on the dominant ideology.8 Consequently, because amateurism was a valued position within the field of feminist publishing, Branching Out was often critiqued for not being political enough. As Aritha van Herk, who worked on Branching Out as book review and fiction editor from 1977 to 1980 (during which time she won the Seal First Novel Award for Judith), mentioned in a 1979 editorial and reiterated in a recent interview, because Branching Out sat on the newsstand with Chatelaine and “was trying very hard to talk to a broad range of women,” it was criticized by readers and more radical

8 However, this amateurism can be a double-edged sword. As Godard argues, feminist periodicals’ “amateur status positioned them then [sic] outside the dominant publishing industry.... ‘Women artists are all amateurs,’ wrote Mill (1984, p. 340), aligning women with the negative in the binary opposition professional/amateur, public/private” (215).

Branching Out | 81 feminist activists for being too mainstream. As this criticism suggests, Branching Out was not always successful in straddling the mainstream and feminist publishing fields; nevertheless, Branching Out sought to balance the opposing demands of mainstream and feminist publishing. Cognizant of the value of amateurism, Branching Out wanted to achieve newsstand appeal while still being open to a variety of content. The preview editorial explains, “the focus will be on the work that women in Canada are doing today. Therefore, we have devoted a lot of space to artwork, photography, poetry and fiction. Some of it comes from grand- mothers, some from housewives, some from professionals” (McMaster, “Branching To?” 3). The editorial emphasizes that the preview issue includes work by both “well-known” and “unpublished” writers (3). Rather than rigidly adhering to existing literary, artistic, and journalistic standards, Branching Out sought to combine the amateur and the professional. This combination was seen by some in the radical feminist press as “selling out” to the mainstream, but Branching Out saw combining the amateur and the professional as a way of representing the diversity of female culture in Canada. It is important to note, however, that Branching Out benefited from the inclusion of well-known writers like Atwood and Livesay because they attracted a wide audience. By having newsstand appeal, Branching Out sought to legitimate a more diverse understanding of Canadian women’s interests and culture than the traditional image of women portrayed in mainstream women’s magazines like Ladies’ Home Journal. However, meeting professional standards while relying almost exclusively on volunteer labour proved to be a challenge.9 In 1978, five years after the magazine began production, board member Elaine Butler had to remind readers of Branching Out’s reliance on volunteers: “We want to bring readers the best quality pos- sible but because we attempt to produce a magazine that meets professional standards of content and production, many people misunderstand the nature of our organization. We operate on a volunteer basis.... No one on staff gets paid for seeing that the magazine is put together every two months and kept running in between” (3). Readers began expecting the kind of pristine, error-free publication characteristic of mainstream

9 For brief periods, Branching Out did receive small amounts of money to pay of- fice and editorial staff. For example, Barbara Hartmann recalled the magazine having enough money to pay four women, including herself, to work on the 1975 International Women’s Year issue of Branching Out, and Aritha van Herk set aside a portion of her Seal First Novel Award prize money to pay editor Sharon Batt a small sum each month for a year.

82 | Jordan women’s magazines driven by advertising revenue, and they conveyed these expectations in letters to Branching Out’s editorial group. Butler’s note to readers is remarkable because it demonstrates that readers were holding this volunteer-run publication up to professional standards, at times even mistaking Branching Out for a revenue-driven magazine, which attests to the quality that Branching Out was able to achieve. This note to readers highlights Branching Out’s liminality, its location in-between the politically motivated amateur aesthetic of many radical feminist publications and the consumerist ethos of mainstream women’s magazines. Branching Out was unique in Canada not only because it was a feminist publication but also because it did not conform to typical categories used to classify women’s periodicals.

* * * Branching Out’s location within Canadian publishing and the women’s movement is perhaps best described by Canadian non-fiction writer Heather Pringle, who worked on Branching Out as poetry and fiction editor from 1977 to 1980 and is now best-known for her writing on archeol- ogy and history, including The Master Plan(2006), The Mummy Congress (2001), and In Search of Ancient North America (1996). When I inter- viewed Pringle about her time at Branching Out, she offered the following response to a question about the significance of Branching Out’s location in Edmonton: “It was an unusual thing for a group of westerners, particularly a group of women in Edmonton, to have the audacity to publish a national feminist magazine. I mean we weren’t even in Toronto for heaven’s sake.… [We] were out in …, what was at that time, the publishing boonies and we were trying to do this.… I think it was very brave.” Pringle further explains this brave act as the process of coming from the margins to the centre: We were coming at this from the point of view of outsiders and I think that in a way that was really appropriate for a magazine about the women’s movement. Because, you know, the women’s movement was all about coming from the margins and the edges into the centre and that’s really what Branching Out was trying to do too. It was coming from the margins and it was trying … to make the women’s movement mainstream … to bring these ideas about what it was to a larger group of people. So I think [Edmonton] was actually the perfect place for that kind of magazine, but it also suffered because it didn’t have the publishing infrastructure. It didn’t have the big pool

Branching Out | 83 of people it could draw on because Edmonton was still fairly small. In the end, Branching Out folded because it relied too heavily for too long on a small group of volunteers—especially long-time editor Sharon Batt, who is uniformly described by Branching Out participants as the driving force behind the magazine after Susan McMaster left in 1975— and these women eventually burned out or went on to other (often paid) work that did not afford them the time required to produce a magazine like Branching Out. The final issue of Branching Out, published in July 1980, featured a total of eighteen images on the front and back covers (see figures 3 and 4). Each image is of one or two women reading a back issue of Branching

Figure 3

84 | Jordan By having each issue held by a different woman, the length of Branching Out’s history is made more tangible.

Figure 4

Out. There are thirty women featured on these covers and each of them is reading one of the thirty back issues of Branching Out. There are young women and older women, white women and racialized women, women in the home and women in public, a woman with a young child, and a woman sitting at a piano (identifying her with the arts). These cover images seem intended to convey the variety of women who read Branching Out and to attest to the magazine’s extraordinary longevity compared with the short lives of so many Canadian feminist periodicals. By having each issue held by a different woman, the length ofBranching Out’s history is made more tangible. Branching Out ’s role as a gathering place for currently and subse- quently well-known Canadian women is also illustrated in the magazine’s final issue. Prominent Canadian women published in this issue include authors Jane Rule, Marilyn Bowering, Erin Mouré, Heather Pringle, and

Branching Out | 85 Figure 5

86 | Jordan Aritha van Herk; academics Veronica Strong-Boag and Smaro Kamboureli; lawyer/politician Linda Duncan; and writer/broadcaster Eleanor Wachtel. But what is perhaps most striking about the magazine’s final issue is the editorial description of the decision to stop publishing Branching Out. Following the table of contents is a letter from “TheBranching Out staff, ” addressed to readers and accompanied by a five-panel comic entitled “The Last Word onBranching Out,” which cites the reasons for folding the magazine (see figure 5). The letter explains that the editor’s ability to “work full-time without pay” is what kept the magazine alive: “After six years without salary, our editor [Sharon Batt] is getting thin and she has resigned to seek paid employment. No one else on our staff is able to work full-time without pay, so Branching Out is no longer able to continue” (2). While a multitude of women worked to produce Branching Out over the years, it was the heroic efforts of one woman that kept the magazine alive. Without that driving force, the magazine was unable to continue. In a final statement to the readers, the staff explains, “We’re proud of what Branching Out has done, and the rewards (other than financial) have been great. We don’t regret the time and energy we’ve spent, and we truly appreciate the support we received over the years from contributors and subscribers” (2). This pride and acknowledgement of support is included alongside a parodic five-panel comic. The first panel, a drawing of a radio, reads, “When last we heard from our heroines the radio was announcing their demise” (2). The second panel includes drawings of several women and stacks of magazines (one labeled “collector’s items”) and begins with the question, “But what precipitated this momentous decision?” (2). Com- ments made by the women in this panel include “Face it, without a full- time editor we just can’t put the magazine out”; “Yeah, you’re right. But how about if we volunteer for 1 week at a time”; “Good idea!! Now I’ll be on holidays for the next 5 months, but when I come back”; “We could always try lottery tickets ... then there’s casinos, bake sales, bingo ... avon?!!” (2). The panel parodies traditional female ways of making small amounts of money and the difficulty of finding volunteers that are as reliable as they are enthusiastic. In doing so, the panel also articulates, in a more heartfelt way, the editorial group’s desire to sustain the magazine but the impos- sibility of doing so without adequate funds to cover production costs and salaries. In the fourth panel, two mice gossip about Branching Out: “Psst. Hey! Did you hear that this magazine is pornographic?!!”; “Yup, dirty rugby songs, codpieces, nude cover, nothing pretty, just a lot of weird looking ugly women” (2). These comments parody some of the criticism directed

Branching Out | 87 at Branching Out over the years and allude to the challenges of trying to produce a feminist magazine with newsstand appeal. Even a moderate feminist magazine like Branching Out was censured by readers for being too radical. This struggle to find an audience is referred to by Sharon Batt in an article published in Status of Women News the year Branching Out folded; she describes “the conundrum of wanting to publish socially significant material that will stimulate change and, at the same time, wanting to reach ‘everywoman’ in order to fuel a mass movement” (12). A clearly frustrated Batt goes on to say that “the serious feminist propagandist might well decide to stuff her message in a bottle and send it out to sea. It would be cheap, and almost as effective” (12). The comic published in Branch- ing Out’s final issue is a parodic representation of the real regret felt by Batt and her peers at being unable to muster the funds and the audience necessary to continue publishing Branching Out. The academic study Branching Out uncovers the relationship between feminist resistance and the arts, the effects of speaking from outside one of Canada’s activist centres, and the role of a magazine in both recording and shaping a movement. Branching into this overlooked archive of Canadian women’s writing provides insights into the history of Canadian women’s print culture and activism and recognizes the extraordinary accomplish- ments of Branching Out’s volunteers and contributors.

Works Cited

Primary Materials Canadian Women’s Movement Archives. X10-1. Archives and Special Collections, University of Ottawa. Hartmann, Barbara. Personal interview. 25 June 2010. Heaton, Mary Alyce. Personal interview. 15 March 2010. Pringle, Heather. Telephone interview. 3 June 2010. van Herk, Aritha. Telephone interview. 8 July 2010.

Secondary Materials Anderson, Doris. Rough Layout. Toronto: McClelland and Stewart, 1981. Batt, Sharon. “Feminist Publishing: Where Small Is Not So Beautiful.” Sta- tus of Women News/Statut de la femme 6.2 (Spring 1980): 12–13.

88 | Jordan Branching Out Staff. Letter.Branching Out 7.2 (1980): 2. Bunch, Charlotte, and Frances Doughty. “Charlotte Bunch on Women’s Publishing.” Sinister Wisdom 13 (1980): 71–77. Butler, Elaine. “Note to Readers.” Branching Out 5.4 (1978): 3. Chesman, Andrea. “Feminist Journals.” Guide to Women’s Publishing. Eds. Polly Joan and Andrea Chesman. Paradise: Dustbooks, 1978. 5–76. Curnoe, Lynda. “Canadian Women’s Movement Archives: A Description and Evaluation.” Canadian Women’s Movement Archive X10-1 Finding Aid. University of Ottawa Archives and Special Collections, Ottawa, 1989. Duncan, Linda. “Editorial: Women’s Place and the Habitat Forum.” Branch- ing Out 3.3 (July/August 1976): 9. Fiamengo, Janice. The Woman’s Page: Journalism and Rhetoric in Early Canada. Toronto: University of Toronto Press, 2008. Flannery, Kathryn Thoms. Feminist Literacies: 1968–75. Chicago: Univer- sity of Illinois Press, 2005. Giacomelli, Eloah F. “Portuguese Revolution.” Branching Out 3.3 (July/ August 1976): 10–14. Godard, Barbara. “Feminist Periodicals and the Production of Cultural Value: The Canadian Context.”Women’s Studies International Forum 25.2 (2002): 209–23. Introduction. “Arctic Women.” Branching Out 3.3 (July/August 1976): 20. Irvine, Dean. Editing Modernity: Women and Little Magazine Cultures in Canada, 1916–1956. Toronto: University of Toronto Press, 2008. Joan, Polly, and Andrea Chesman. Guide to Women’s Publishing. Paradise: Dustbooks, 1978. Korinek, Valerie. Roughing It in the Suburbs: Reading Chatelaine Magazine in the Fifties and Sixties. Toronto: University of Toronto Press, 2000. Martin, Sandra. “Doris Anderson, Journalist and Political Activist, 1921– 2007.” Globe and Mail, 3 March 2007: S9. McMaster, Susan. “Branching To?” Branching Out (December 1973): 3. ——— . The Gargoyle’s Left Ear: Writing in Ottawa. Windsor: Black Moss, 2007.

Branching Out | 89 Pulling, Barbara. “In the Feminine.” In the Feminine: Women and Words/ Les Femmes et Les Mots. Eds. Ann Dybikowski, Victoria Freeman, Daphne Marlatt, Barbara Purling, and Betsy Warlord. Edmonton: Long- spoon, 1985. 14. Rebick, Judy. Ten Thousand Roses: The Making of a Feminist Revolution. Toronto: Penguin, 2005. Wachtel, Eleanor. “Feminist Print Media: Submitted to the Women’s Pro- gram Secretary of State.” [Ottawa]: n.p., 1982. ———. “Update on Feminist Periodicals: Submitted to the Women’s Pro- gram Secretary of State.” [Ottawa]: n.p., 1985.

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