This essay disinters Blasted, the highly controversial debut play by Sarah Kane, from a masculinist cult of "in-yer-face-ism" in order to propose a genealogy of contemporary women's playwriting on the British stage characterized by an experiential drive to feeling the loss of feminism. Taking Blasted as a seminal point of reference, an experiential genealogy of women's writing is constructed by looking back at work by Rebecca Prichard and Judy Upton, and forward to millennial women's drama-in particular to politically angry newcomer debbie tucker green, whose theatre is examined as a savage critique of a world scarred by an acute lack of altruistic feeling for "others." The essay concludes with brief reflections on the efforts made by new women writers to claim a space on the British stage.