Chloe liked Olivia," I read. And it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature ... For if Chloe likes Olivia and Mary Carmichael knows how to express it she will light a torch in that vast chamber where nobody has yet been. It is all half lights and profound shadows like those serpentine caves where one goes with a candle peering up and down, not knowing where one is stepping. These comments, from Virginia Woolf's A Room of One's Own (1929), suggest a sense of being poised upon an artistic frontier. That Chloe liked Olivia was nothing new, yet in the 1920s the issue of how these relationships could and should be represented in the novel became the subject of debate in both public and private spheres. Not only the salons of Bloomsbury and Paris but also the English courts concerned themselves with ways of representing love between women. Lillian Faderman has suggested that in the 1920s there was a kind of loss of innocence;' a more prevalent acknowledgment and labeling of lesbian sexuality made it far less acceptable for women authors to show strong feelings between female characters. Recent feminist scholarship has identified the 1920s as a key decade of struggle in the area of sexuality. Sheila Jeffreys argues that the triumph of "sex reform" in the 1920s was concurrent with a general decline of militant feminism. The 1920s witnessed a concerted campaign through marriage advice literature and clinics, as well as the works of "progressive" and conservative sexreformers, to conscript women into participation in sexual intercourse with Feminist Studies 13, no. 3 (Fall 1987). ? 1987 by Feminist Studies, Inc.