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The subjects of analytical reflection by Agata Araszkiewicz are not only the unknown female writers of the Interwar period (Aniela Gruszecka, Wanda Melcer), but also the under-appreciated ones (Irena Krzywicka) and those whose celebrity eclipses their true value (Pola Gojawiczyńska). Utilising the tools of feminist criticism, the author reflects on whether, in the novels created by women, a new type of subjectivity had emerged, and whether these 'artistic achievements of feminism', which the critics of the era wrote about, extended the canon of Polish literature. The potential present in those works becomes visible, thanks to Agata Araszkiewicz's sensitivity to new thematization (the achieving of an artistic, creative identity by a woman, the mother-daughter relationship, the ineffability of female homosexuality, the somatic experience of pregnancy described as a philosophical phenomenon). The author creates her own cartography of women's literary subculture of the Interwar period, which emerges as a group of texts consciously referring to one another. Literary experiments or distinct linguistic manifestations reveal the work on the female textual subjectivity and the different experience of the body, andthe social and cultural roles it entails. The interpretations of Araszkiewicz, utilising English-language feminist criticism, which focusses on the identity of the author on the one hand, and the French écriture feminine concepts of self-expression on the other, ascribe novel readings to known problems, shining a light on what was marginalised in traditional approaches. It is this illumination that is the most interesting and most revealing part of the work. (Prof. dr hab. Maria Janion)

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