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The Unknown City: Contesting Architecture and Social Space

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Part II: Filtering Tactics<br />

306<br />

17<br />

307<br />

Lynne Walker<br />

FAMILIAR GROUND<br />

As one retraces the sites <strong>and</strong> spaces of Victorian London, new meanings can<br />

be read from familiar buildings <strong>and</strong> greater texture can be given to a new social<br />

mapping of the city. At the British Museum, for example, women readers<br />

were a feature of both the old library <strong>and</strong> of the domed Reading Room<br />

that opened in 1857. 37 Many were involved in systematic programs of selfeducation<br />

or in professional research <strong>and</strong> writing; among them were Eleanor<br />

Marx, who lived near the museum, <strong>and</strong> Clementina Black, who campaigned<br />

for equal pay <strong>and</strong> improved living conditions for working women <strong>and</strong> who<br />

supported herself through her research <strong>and</strong> writing at the museum, while<br />

sharing a bedsit with her sister across Tottenham Court Road on Fitzroy<br />

Street. 38 Two rows of ladies-only seating were provided in the Reading<br />

Room until 1907, but they were treated as unnecessary <strong>and</strong> generally were<br />

unoccupied. 39 In the museum itself, the expertise <strong>and</strong> authority of women<br />

guides were accepted by visitors, who were taken around the exhibits by<br />

peripatetic women lecturers. 40<br />

SPACE FOR WOMEN<br />

<strong>The</strong> buildings <strong>and</strong> places, both public <strong>and</strong> private, that were the arena of<br />

women’s groups <strong>and</strong> networks <strong>and</strong> the sites <strong>and</strong> spaces of lived female identities<br />

in London constitute a different mapping of the city. However, drawing<br />

out a single narrative str<strong>and</strong> from the larger urban fabric is problematic;<br />

it highlights women’s presence <strong>and</strong> achievement <strong>and</strong> perhaps thereby blunts<br />

the critique of sexual difference, which accounts for their absence. Certainly,<br />

the focus on one group of women (i.e., those associated with the women’s<br />

movement) does eradicate, if only temporarily, the representation of the experience<br />

of other numerous <strong>and</strong> diverse urban women, also users <strong>and</strong> producers<br />

of the spaces of the West End. <strong>The</strong>re were working-class women,<br />

many of whom lived <strong>and</strong> toiled in their thous<strong>and</strong>s as servants in the great<br />

houses of the West End; street sellers <strong>and</strong> entertainers; barmaids <strong>and</strong> female<br />

drinkers; prostitutes <strong>and</strong> performers; middle-class proprietors of shops—<br />

more than forty women shopowners were listed in Regent Street alone in<br />

1891; 41 lower-middle-class <strong>and</strong> working-class shop assistants in the burgeoning<br />

department stores of Oxford Street <strong>and</strong> Regent Street; many kinds<br />

of students <strong>and</strong> lesson takers <strong>and</strong> teachers; <strong>and</strong> thous<strong>and</strong>s of visiting consumers,<br />

both foreign <strong>and</strong> domestic. 42 Sheer numbers, or at least critical<br />

mass, were important to women’s identity <strong>and</strong> experience of the city, <strong>and</strong><br />

to their impact on spatial definitions <strong>and</strong> material culture; but in latenineteenth-century<br />

London, class divisions remained as strong as gender<br />

bonds.

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