The American Heritage Dictionary has eleven separate definitions of the term canon, the most relevant of which is “an authoritative list, as of the works of an author” and “a basis for judgment; standard; criterion.” . . . To enter the canon, or more properly, to be entered into the canon is to gain certain obvious privileges. The gatekeepers of the fortress of high culture include influential critics, museum directors and their boards of trustees, and far more lowly scholars and teachers. Indeed, a chief enforcer of the canon appears in middlebrow anthologies, those hangers on of high culture that in the Victorian period took the form of pop anthologies like Golden Treasury and today that of major college anthologies in America. To appear in the Norton or Oxford anthology is to have achieved, not exactly greatness but what is more important, certainly—status and accessibility to a reading public. And that is why, of course, it matters that so few women writers have managed to gain entrance to such anthologies.%0D%0A%0D%0AWhat side does it take? What data does it add? What do you want to remember about this source?%0D%0A%0D%0AThis doesn’t need to be a complete sentence, just so you remember which source is what.

Answer 1

This source takes the side of advocating for more inclusion of women writers in canon literature. It highlights the privileges and status that come with being included in influential anthologies and criticizes the lack of representation for women in those anthologies. The data it adds is the definition of canon from the American Heritage Dictionary and the gatekeepers of high culture who determine what is included in the canon. It also mentions the Victorian pop anthologies and contemporary college anthologies as examples of the gatekeepers' influence. The important takeaway from this source is the underrepresentation of women writers in canon literature and the impact of being included in influential anthologies.