Now consider another scene, this one presented by the literary scholars Sandra M. Gilbert and Susan Gubar in their 1979 study The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination. They recognized that women had, for a century, been reading an alternate history of literature into existence, a "canon that lived in the mind of every femme moyenne intellectuelle who spent her girlhood avidly devouring the classics of female imagination produced by Austen and the Brontës, Mary Shelley and George Eliot, and yes, if the girl liked poetry, Emily Dickinson." Gilbert and Gubar's scenario of women trading worn paperbacks back and forth and having long discussions about Pride and Prejudice in comparison to Wuthering Heights doesn't isolate any one female writer as exceptional, instead placing them in dialogue with each other in ways that change the idea of what great literature can be. Acknowledging only women writers, this vision might be viewed as extreme, a form of separatism that as isolating in its own way as keeping the best female artist at a gathering in a separate room. Yet when feminists like Gilbert and Gubar did create new canons of women's literature, in books like the 1986 landmark Norton Anthology of Literature by Women, it changed the game. More books by women were taught in college courses. Some titles lost to time, like Kate Chopin's The Awakening, were rediscovered. Arguments about these new canons ensued, and resulted in more change, including greater acknowledgment of women of color and women writing beyond North America. The changes stuck. A 2011 study found a direct correlation between the publication of the anthology and greater gender balance among authors considered central to world literature in general.