
(the dawn of modern SF), each featuring its own, unique future Eve. Although it is
generally assumed that no – or few – women were writing science fiction during this
period, research reveals a strikingly different picture. Recently a review was
conducted of every issue of every SF magazine published from the debut first
science fiction magazine in 1926 (Amazing Stories) and the modern age in SF
magazine publishing in 1959 (when Imagination, the last pulp-influenced periodical
went broke and the more literary, purse-sized magazines typical today became
dominant). An unsuspected one hundred women contributed stories to their pages
during those three and a half decades. Some researchers estimate the true number
may well be twice that, as doubtless many women – believing, perhaps rightly, that
their work would find readier acceptance – concealed their gender behind
androgynous names, the anonymity of initials or beneath male pseudonyms.
Whatever names they may have chosen to write under, these pioneering women were
so far ahead of most other women – and men – of their time that that they rightly
deserve to be considered future Eves themselves. Take the cases of the nine writers
represented here: Leslie F. Stone was so far ahead of her time that nothing like her
novelette, "The Conquest of Gola" (1931), an encounter with Earth males told from
the point-of-view of an alien matriarch, would be attempted again in science fiction
until the work of Alice Sheldon (AKA James Tiptree, Jr.) in the 1970s. The scientific
detective story is a subgenre of science fiction that flourished in the early 1900s with
the adventures of Arthur B. Reeve's Craig Kennedy character; and Margarette Rea is
one of the few women of the time to have, in "Delilah" (1933), written in the
subgenre (in this instance utilizing the newly emergent science of "psychology").
Hazel Heald's novelette "The Man of Stone" is searingly feminist, all the more so
since her heroine, like so many women of the time, takes her brutalized situation so
much for granted; the title can be seen as having both a literal meaning and a
metaphorical one in relation to the heart of the principle male character (Lovecraft
fans are in for a real treat.) On a more modern note, Evelyn Goldsmith offers what is
both a legitimate science fiction puzzle story and one of character in her "Days of
Darkness" (1959) the tale of a spinster's encounter with an invisible, vampiric alien
invader. Although "Alien Invasion" (1954) by Marcia Kamen is short, it is one many
women will sympathize with – after all, what else is sex between a man and a
woman? In "Miss Millie's Rose" (1959), Joy Leche manages what so few male
science fiction writers of the era seemed able to do: portray a character whose
psychology arises out of her own future world and not our own. Betsy Curtis is a
deceptively mild name for someone able to produce a work like "The Goddess of
Planet Delight," a short novel in the classicAstounding mode that mixes a
sociological puzzle with pointed satire, high-adventure and romance in its story of a
traveling salesman who has to stop over one night at... "Cocktails at Eight" seems a
deceptively mild domestic comedy, until you realize what author Beth Elliot is saying
about the children her heroine has produced. Finally, the unknown Helen Clarkson
offers "The Last Day," a haunting poignant short-short so prophetic that, though
chosen prior to 9/11, hits home all the harder in the aftermath of that horrendous
tragedy. You will find an Eve of the future at the heart of each of these classic