A New Atlantis? Shifting Shorelines and Salt Marshes: Between Third and Fourth Wave Feminism in the Twenty-first Century

She specializes in women's writing, with a concentration on Caribbean and Canadian literature and historical fiction, as well as contemporary gender theory that centralizes the maternal and mother-daughter relations.Her work has appeared in journals such as Feminist Theory, MELUS, and Women's Studies, and she is the author of Matria Redux: Caribbean Women Novelize the Past and Chronotropics: Caribbean Women Writing Spacetime, a co-edited collection with Odile Ferly.Zimmerman also serves as Editor of Atlantis: Critical Studies in Gender, Culture, and Social Justice.he road to Atlantis is neither straight nor narrow.It, may, however, have been paved in gold.It depends on which Atlantis you are talking about; there are as many Atlantises as there are geopolitical positions, symbolichistorical references, and philosophical-literary discourses claiming to be authentic, authoritative sources.In celebration of the 50 th anniversary of Mount Saint Vincent University's women's studies journal Atlantis: Critical Studies in Gender, Culture, and Social Justice, this essay endeavours to bring together three unlikely bedfellows: Plato, Shirley MacLaine, and Atlantis.I reflect on the references each of these sources make to the infamous lost city of Atlantis as a means to make sense of the tumultuous, conflict-laden, and volatile political situations feminists are currently facing.I believe that feminism finds itself once again in a murky, transitional period and is experiencing an ever-shifting/ eroding shoreline.Contrary to my previous claims in Atlantis (Zimmerman 2017), I now sincerely doubt whether a fourth wave of feminism emerged, and I have pivoted to thinking that we (in the Global North) have witnessed instead the tail end of the third wave.But it's precisely the gap in between waves or feminist movements (some might say backlash) that I'd like us to imagine differently-as a saltmarsh.At the risk of cliché, environmentally-charged imagery is used throughout this piece to articulate what I am calling marsh feminism.Coding feminism with ecologically-rich language and vice versa is far from discursive originality, but the specific image of the saltmarsh does illuminate new paths for understanding different women's movements and activisms in terms of a deep, rich, and murky subversive space where timelines and goals overlap and intermingle whilst continuing to compel us to confront the risks and threats we, like all species, all face on our planet in crisis.

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