Dorothy Richardson`s thirteen-volume novel Pilgrimage presents a single woman`s life as a continuous process without offering any traditional sense of resolution or ending. With its emphasis on detail and with its use of unpunctuated prose, the novel gained the reputation of being unreadable and was criticized for generating boredom. Drawing attention to its serial form and style, this essay investigates how Richardson`s literary experiment constructs a new type of reading subject whose relation to textual space should be different from that of the nineteenth-century readers. In her pursuit of serial form in depicting the portrait of an artist as a young woman, Richardson thematizes boredom as integral to her feminist strategies to express critical dissent from dominant narratives of gender. Through her essay “About Punctuation,” her preface to Pilgrimage, and scenes of reading in the novel, Richardson argues that “feminine prose” distinguished from nineteenth-century masculine realism should be properly unpunctuated to the extent that one`s reading speed must be encumbered so that readers can question norms implicated in standard punctuation. Promoting “the slow, attentive reading” by using experimental punctuation and detail, Richardson`s prose style highlights readers` creative collaboration and allows readers to experience non-homogenous temporalities and spatialities. Richardson`s aesthetics of slowness serves to constitute modernist readers, who were required to adopt a new reading strategy to overcome boredom while encountering unreadable texts and to appreciate aesthetic values of new modes of writing though active participation in textual production.