Well there's a class element as well. My granny wrote all her life but cause she had 11 kids and lived in a council house, and wrote about that as if it mattered (but not a tragedy), she was never taken seriously by anybody and never will be. My other granny's cousin also wrote about her own (yes marginalised but big colonial estate) life as if it mattered, and she is taught in schools and taken VERY seriously these days. I do think it matters also if you write from a big house vs a small one and that what you say has to fit into someone else's agenda (even a "progressive" agenda). Like, you can write about your life as a woman if it's all about your misery and resistance, then that's valid and intellectual, but anything else is chicklit or housewifey and how stupid you are to think your life is interesting and worth celebrating. So those perspectives are edited out.
I and a very few others have been selected as a representative "canon" and so I get a disproportionate amount of attention and interest from outsiders for my art (it's taught on courses and shown in museums which I find lolarious but there you go) compared to the tens of thousands of others in my community, and it's obvious that's because mine fits in with the agendas of the academics and journos and doesn't actually challenge them (it's not slo-mo-romo, it doesn't have a ton of embarrassing undisguised female sexual longing etc etc). It's actually not that representative, though, so they're not fully engaging with the art for itself, imo, only looking for aspects that they already accept as valid. The only time really more representative stuff is shown is when it's being mocked. Because that's what people do to stuff that is really properly challenging and uncomfortable. This is the experience of every subculture that is cherry picked and mainstreamed, I guess.
Anyway, I massively digress. Clara Driscoll : The first Tiffany lamp was created around 1895. ... Its designer was not, as had been thought for over 100 years, Louis Comfort Tiffany, but a previously unrecognized artist named Clara Driscoll. [She] was identified in 2007 by Rutgers professor Martin Eidelberg as being the master designer behind the most creative and valuable leaded glass lamps produced by Tiffany Studios.