To speak of French women poets of the twentieth century is still, paradoxically at the beginning of the twenty-first century, something of a novelty. Very little of their abundant and ever-increasing production is quoted in anthologies or histories of literature or poetry often otherwise outstanding in their coverage. There are only two mentions in the twentieth century section of Marcel Arland's Anthologie de la poésie française, three in Michel Décaudin's Anthologie de la poésie française du XXe siècle, none in Alan Boase's Poetry of France 1900–1965, one in the Lagarde et Michard XXesiècle, none in Robert Leggewie's Anthologie de la littérature française (vol. 11), and one in Anthony Hartley's Penguin Book of French Verse. Even many anthologies of contemporary poetry do no better – two women are retained in Henri Deluy's Poésie en France: 1983–8 (1989), one in Jacques Roubaud's 128 poèmes composés en langue française (1996), and three in Emmanuel Hocquard's Tout le monde se ressemble (1995). Recent critical studies or histories, fine as they are in many respects, barely touch upon poetry by women. Fortunately, Jeanine Moulin's remarkable Huit siècles de poésie féminine (1963) continues to give readers a healthy perspective on a creative wealth masked by factors of either partiality or indifference, naïve underrating or simple carelessness, factors inevitably reflecting socio-economic and political parameters as well as the dominant psychological structures of our modernity.