THE NEW WOMAN was both a discursive formation and a figure produced by materialist history as a result of debates over marriage, sexualities, political rights, labor conditions, life styles, and fashion. Unnamed until 1893 (Tusan 169), the “New Woman” became a lively topic in the press only in 1894 (Schaffer, “‘Nothing’” 39–40), at which point the rhetoric aimed at actual women quickly transformed into attacks on or defense of a literary phenomenon – in part, Ann Ardis suggests, because a literary controversy was less threatening than the prospect of actual social change (12). The “‘props’” attributed to the New Woman by Punch, the preeminent periodical to construct the literary stereotype, included five defining activities: “She smoked, rode a bicycle, frequented women's clubs, read voraciously and wore bloomers” (Miles 247). Scholars have long acknowledged that the New Woman did not suddenly appear but had a pre-history dating back to the 1880s (e.g., Ledger 23). A crucial part of that pre-history in life and in print was the founding of the “Literary Ladies,” a women writers' dining club, in 1889. The club not only represented significant innovation in fin-de-siècle authorship but also, more crucially, precipitated in the press the “props” (bloomers excepted) that would typify – and target – the New Woman from 1894 onward.
F. Scott Fitzgerald and Willa Cather, via Edith Wharton