Volume 7, Number 2

Issue 7.2 Table of Contents:
[Cover Image: The Grain Goddess (2001) by Jenna Weston]FEMSPEC VOLUME 7.2

BATYA WEINBAUM: Editorial
Batya Weinbaum gives an overview of the journal and announces numerous achievements and future projects at FemSpec. The winners of the first 'Five Year Contest' are revealed; a new section begins called 'Ethnography Through Your Soul' which combines personal narrative with current research; a forthcoming feature called 'This Should Have Been Printed In Femspec' is presented; and a memorial section begins by commemorating Tillie Olsen and Monique Wittig.

BRUCE E. DRUSHEL: Pandora's Box in Cyberspace: The On-line Alternative Fan Sites of Hercules: The Legendary Journey
Drushel looks at the North American television show, Hercules: The Legendary Journeys. It provides a background to the show and to the community of fans who express their admiration by writing their own stories based on the series. Bruce Drushel investigates various websites where fans write fiction, and makes a detailed inquiry of some of the homoerotic or 'slash' writing.

ROMAYNE SMITH FULLERTON: Not 'Of Woman Born': Fairy Tale Mothers for Postmodern Literary Children.
Fullerton examines the subversive potential of re-casting fairy tale stereotypes into postmodern fiction, focusing on the writers Angela Carter, Jenny Diski and Jeanette Winterson. Romayne Smith Fullerton writes about how these authors have adapted and borrowed from the monstrous and imaginative characters of classic tales. Her argument suggests that by tinkering with these stereotypes, the writers in her study have discovered ways to limit the unhappy realities of patriarchy in their fiction. This is done by challenging and sidestepping the problems of the feminine in fairy tales.

MARY KIRK: Vision of the Possible: Models for Women's Heroic Journey Applied to Madrone's Path in The Fifth Sacred Thing.
Kirk applies a series of feminist interpretations to the myth of the hero. By pointing out the somewhat misogynist, mono-myth of the male hero as laid out in the work of Joseph Campbell, Mary Kirk explores other models of heroism created by feminist scholars such as Susan Lichtman, Carol Pearson, and Katherine Pope. Mary Kirk then tests out these models by applying them to a self-actualized character who lives in a feminist utopia: Madrone in Starhawk's first novel, The Fifth Sacred Thing.

C. S'THEMBILE WEST: The Competing Demands of Community Survival and Self-Preservation in Octavia Butler's Kindred.
West demonstrates that Octavia Butler's novel Kindred is both instructive and challenging because it forces the reader to re-imagine the complicated decisions made by Black women during chattel enslavement. C S'Thembile West outlines the complexity of Black women's lives and emphasizes the connections between the practice of chattel slavery, US economic viability and contemporary social problems.

GLORIA ORENSTEIN: When the Imaginary Becomes Real, as Surrealism Said It Would: 'All the Rest Is Litterature'
Gloria Orenstein writes about her journey to Lapland and initiation by a Sami shaman. She tries to assimilate these strange experiences into her belief system using the surrealist conviction that acts of the imagination can begin to manifest themselves into reality. Her spiritual journey gives her a greater tolerance and respect for her own religious background and those of her students.

ELLA JO STREET: The Origin of Tarot
A series of chance encounters leads Ella Jo Street on a journey to Bishnupur in North East India, searching out the origins of the Tarot Pack. There she meets Mr. Fouzdar, the only person in the world who is currently painting Dasabatar cards. These large circular cards, originating from the 14th Century bare remarkable similarities to Tarot Cards and lead Ella Jo Street to wonder about the historical and linguistic links between the packs.

MONICA DE NEYMET DE GIACOMAN: Living Hours (excerpt)
With an introduction by Batya Weinbaum , FemSpec presents a translated excerpt from M'nica de Neymet de Giacoman's first novel Las Horas Vivas.

KATHLEEN McCONNELL: The Inevitable Feminist Treatise on Catwoman (excerpt)
A comic poem outlining preparations for a text on the much maligned film Catwoman, with references to many other television and cinema heroines.

AIDAN THOMPSON: Maple Tree (excerpt from Crossings)
A short text takes the reader from Oberlin Lane to Calcutta, by way of Georgia O'Keeffe, Paul Simon and a very talented owl.

ERIC DROWN: 'Buffy, Who?' Review of Athena's Daughters: Television's New Woman Warriors, edited by Frances Early and Kathleen Kennedy.

ERIC DROWN: 'Ooooo!, We Hate Bush.' Review of Hollywood's New Radicalism: War, Globalization and the Movies from Reagan to George W. Bush, by Ben Dickerson.

SHANNAN PALMA: Review of From Alien to The Matrix: Reading SF Films,
by Roz Kaveney.

A memorial to Tillie Lerner Olsen (1912 - 2007) by Ardys of Berkeley.
A memorial to Monique Wittig (1935 - 2003) by Gloria Orenstein.

BOOKS AND MEDIA RECEIVED: 44 titles of interest.

Bluebeard

Goose Girl

Goose Girl at the Well by Elenore Abbott

Submissions

Only subscribers may submit to Femspec.

For CRITICAL ESSAYS, POETRY, ART, MEMOIRS, DRAMA and FICTION

Please submit two copies of your piece *without* any indication of your name on them so that your piece may be read anonymously. Include a separate sheet with the title and genre of your piece, your name, address, email, phone and a two sentence abstract . Also, include a disc with your document in Word and RTF format. All submissions should conform to MLA standards, as found in the latest edition of the MLA Handbook for Writers of Research Papers. MLA guidelines can also be found on-line at http://www.mla.org. Any submission that does not come in with sufficient copies will not be sent through the review process at our expense.

Send submissions to:

Femspec
1610 Rydalmount
Cleveland Heights OH
44118.

All editorial enquiries should be directed to Batya Weinbaum.

BOOK REVIEW GUIDELINES.

These are intended to be flexible, not rigid, and if you have any questions or suggestions, please contact us.

GUIDELINES

Head your review with the title of the book. Next is the bibliographic information, including author, title (in italics), city of publication, publisher, year, page length, binding, price, and ISBN number. If you are reviewing a serial, include the ISSN number. Please include all of this information.

Example:
Sargent, Pamela. Climb the Wind. New York: HarperPrism, 1999. 436 pp., cloth, $25. ISBN 0-06-105029-6.

Content:

Reviewers should keep Femspec’s diverse audience in mind -- writers, readers, and scholars of feminist speculative fiction, poetry, and theory. Reviews should encourage critical rather than merely aesthetic response, and, especially in the case of fiction, should avoid summarizing a book’s narrative. Writers should consider the following questions in writing their reviews. Note that since Femspec reviews fiction, poetry, and academic work, not all questions will be relevant to all books reviewed. Contact the book review editor if you need clarification.

1. What is the book about? Don’t summarize the plot, but do identify the genre or sub-genre the book belongs to. (utopia, dystopia, alternate history, etc.) Your description should enable scholars and teachers to decide whether the book is useful to their research or classroom curricula. What courses would the book be good for? What level (freshman, senior, etc.)?
2. What is the context of the book? Where does it fit into the author’s other works, if any, and into the tradition(s) of feminist speculative fiction and criticism? Context should place the book in terms of its relationship to other texts with which it can be compared. If the book is an anthology, indicate whether it contains mostly new essays.
3. What is the scholarly potential of the book? What interesting issues are raised? What insights are offered? What moral problems are addressed and how useful is the author’s treatment of them? How well researched is the book, and does the author’s bibliography (if applicable) provide useful resources for further study?

Style:
1. Do not use footnotes. All references to the text should be noted in parentheses with the relevant page number.
2. If you refer to other works in your review, include a separate list of works cited at the end of your review. Include relevant page numbers in parentheses in the text.
3. Do not refer to other reviews of the book.
4. Double-space your review. If you are using a computer, it will be immensely helpful if you use Times New Roman 11 pt. font.
5. Finish your review with your name in capital letters, your institutional affiliation, if applicable and you wish to include it, and email address, if you wish to include it. Right-hand justify this block of text.

Length:
Reviews of anthologies may be up to 1200 words, depending on whether you have been asked to review the entire contents or only selected contributions. Consult the book review editor. Reviews of poetry and fiction should not exceed 1000 words. Do not feel that you must meet the length limit ? sometimes a short review is preferable.

Deadlines:
Reviews are due 8 weeks after you receive the book. They may be submitted by post, fax, or email. If you submit by post, include a disc copy in MS Word 95 or higher.

About Femspec

A brief history of our organization

The editorial group grew as an outgrowth of the Science Fiction/Fantasy Area of the American/Popular Culture Association. We came together at a conference in San Antonio in April of 1997, discussed our experiences of non-feminist editorial practices by SF journals that were male-dominated, and the bias towards realism in journals that published feminist literary criticism or creative works. A group of us decided to found our own journal, the first issue of which appeared in September 1999; in the process of which, our organization grew. Our impetus came from the collectively perceived lack of attention to science fiction, fantasy, magical realism and supernatural works in feminist journals and audiences; the lack of consistently developed levels of feminism in science fiction criticism; and the inadequacy of magical realist publishing outlets and forums in the United States. The first issue was well-received and sold out in three months. Since then, a total of six more, bringing our in-print issues to seven, have appeared. In the fall of 1998, the founding editor in chief, Batya Weinbaum, was offered a position teaching Multicultural Literature at Cleveland State University, where the journal was housed for five years.

How our organization encourages diverse groups of women to work together

The journal has a multicultural focus, with an upcoming theme issues on speculative works by African American women, and another on race and culture. We have already published 2.2, the first collection of Native women's speculative art and writing. We have collected and printed articles on Asian American women's writing, Latina magical realism, Jewish women's magical realism, and now intend to create a specifically Jewish women's work. Our special girls' issue is "under construction," with contracts already mailed to authors and returned, and final editing being completed. This is the same status as an upcoming issue on film.

The editing group is diverse in terms of race, ethnicity and age, including emeritus scholars, SF fans, creative writers and critics in various fields at an array of universities in the US and internationally. We advertise through MELUS, the Journal of the Society of Multiethnic Literature of the United States; Journal of Research on Mothering; Meridians' SF Studies; Extrapolation; Foundation; and other venues to attract diverse groups of women who otherwise would not come into contact with each other.

The first issue of our bi-annual publication included the writings of two African Americans, and we have a regular girls' feature where we publish writings about girls' literature or writing by girls. Girls' art also appeared in the first issue. We also have salons and readings at bookstores, and at conferences such as National Women's Studies, Popular/American Culture, and International Association for Fantasy in the Arts. On particular issues, such as the Native issue, we work with women from special constituencies such as Rachael Whitehawk Day of the North American Cultural Center.

The current activities of our organization

We are currently involved in a subscription sales campaign to reach the goal of 100 library in the interest of getting picked up by a university publisher to expand the distribution of our work. We process manuscripts on a regular basis, having received over 500 submissions and having accepted about 5%, with an additional 15% after revision. We arrange postings on listservs, distribution of flyers and brochures at conferences, review of the issue in library and small press journals, production and sales of promotional products such as posters and mugs, sessions at national conferences, bookstore readings, exchange ads with other publications and journals, manuscript review, and a promotional webpage. We are also in the process of getting posted on GenderWatch, a database held in libraries. We review books received, conduct a readers forum, excerpt historical documents, conduct cover art competition, and offer on campus apprentice/internships for women and other students who volunteer to work on the project.

How our organization is structured

The founding editor and editor in chief works with an Advisory Board with artists and scholars such as Florence Howe, Octavia Butler, Suzy Charnas, Joanna Russ, Pamela Sargeant and Diane Skafte. In addition, contributing editors Marleen Barr, Samuel Delany, Darko Suvin, and Gloria Orenstein are quite active as well as an editorial board of people who primarily act as reviewers that currently stands at about 10. Furthermore, local editorial consultants are involved with the Journal from Cleveland State University as well as Case Western Reserve University. Some students volunteer or work each semester, with student involvement averaging about 12 a year. In addition, there are special editors in charge of developing their own issues who may or may not be on the Board.

How policy and decisions are made

The Femspec Local Advisory Committee meets once a month as a formal body, with smaller meetings between the monthly dates. These are announced and open meeting that involve all people interested in or engaged at any level of the project. Otherwise decisions are made in consultation with consultants, board, and advisory members as well as contributing editors. Sometimes that happens through our editorial listerv.

How we measure the success of our organization

Success of Femspec is gauged as follows. By the positive response of people involved over the first years; by the expressed positive experience of women and minority students who have volunteered, interned or worked on the journal and ask for extended participation for more credit or more hours in subsequent semesters; by the success in fundraising from other universities and individuals who have contributed to the journal including University of Southern California, University of Texas at Dallas, Oakland University, State University of New York at Stonybrook; by the increased number of submissions; by the willingness of esteemed scholars to give us their work; by the willingness of authors and publishers to send us review copies; by authors' willingness to revise and resubmit according to our production schedule; by the volunteered time of scholars even in their sabbatical year to work on fundraising and grants; by the interest of local bookstores in hosting events; by the positive media coverage we got, for example, in the Cleveland paper the Plain Dealer, The Free Times, Magazines for Libraries, and in campus newspapers such as On Campus, The Vindicator, and The Cleveland Stater; and by some of the following responses: "The first issue of Femspec… exceeded my expectations! It is gorgeous and excellent." Oregon Writer; "A striking first issue of an exciting new journal." Karen Schneider, Western Kentucky Univ.; "Lively." John Crawford, West End Press; "What an artifact." Carol Stevens, Society for Utopian Studies; "An amazing thing here." Marleen S. Barr, Sci-fi Critic;"I absolutely LOVE it!!!" Patricia Melzer, Clark University; "Refreshing-finally making a place in academia for such things." Theresa Carter; "The issue looks beautiful!" Christina Springer, Philadelphia Performance Poet.

More About Femspec

1. We are recommended on www.litwomen.org. Here’s an excerpt from their glowing review: “The editorial board includes some of feminism’s most radical, visionary, and critical thinkers and writers… Overall, this journal covers an important area of literature and thought often overlooked in feminist scholarship… FEMSPEC is definitely worth the attentions of those who look to these genres for feminist vision.”

2. We are part of the Science Fiction and Fantasy Research Database, an on-line, searchable compilation by topic and author. The Database is an inclusive tool, designed to cover all aspects of science fiction, fantasy, horror, supernatural, and weird fiction. Check out their site at http://access-co2.tamu.edu/hhall/

3. We are listed in Magazines for Libraries, edited by Katz & Katz under “Women: Feminist and Special Interest” in the 10th edition.

4. Based upon the recommendation of Magazines for Libraries, beginning in January 2004 we will be included in Humanities Full Text, Humanities Abstracts and Humanities Index. Humanities Full Text is cited as “the most comprehensive resource available in its field.” It supplies readers with the full text of articles plus abstracts and bibliographic indexing of scholarly sources.

5. Our table of contents is listed in Feminist Periodicals: A Current Listing of Contents, published by The University of Wisconsin System.

6. Femspec’s calls for submissions are prominently listed in various locations such as the University of Pennsylvania’s “History Journal News,” University of Maryland’s “Diversity Database,” the Network of East-West Women, the University of Minnesota’s “Voices from the Gap: Women Writers of Color,” Bucknell College’s ListProc, the University of Toronto Cquest, Rutgers University’s “Howz Updates,” Michigan State University’s Jewish Studies newsletter, Callihoo’s newsletter (a weekly writers’ group in Salt Lake City), Queer-E (an electronic message board), www.queertheory.com, “News Notes: E-Publication for the Society for the Study of Multi-Ethnic Literature of the United States,” “Chora: A Community for Emerging Feminist Scholars,”University of Dundee, Narrative Alchemy (a newsletter in Finnish), www.speculations.com and www.multiculturaladvantage.com.

7. Femspec’s web page is linked from numerous sites, including www.sfsite.com/depts/magazol.htm, www.feministsf.org, Association for Research on Pop Culture, www.feminista.com, “N. Paradoxa” (an international feminist art journal), www.sfaite.com, the German women’s network “Frauennetzwerk” as well as the German-language sites www.feministische-sf.de and www.genderforum.uni-koeln.de, Council of Editors of Learned Journals, Extrapolation (a SF journal based at Kent State University), www.gayellowpages.com, www.sf3.org (Society for the Furtherance and Study of Science Fiction and Fantasy), the International Center for Women Playwrights, the Cleveland Women’s On-line Calendar, and Women’s Print Periodicals on the Women’s Institute for Freedom of the Press.

8. We have exhibited at conferences such as Pop Culture and National Women’s Studies, and served on panels with other editors and publishers including from Greenwood, Feminist Teacher, Women’s Studies Quarterly, and NWSAJournal.

9. Our advertisements have appeared in Extrapolation, Journal of Popular Culture, Journal of the Association for Research on Mothering, MELUS, Frontiers, Science Fiction Studies, Paradoxa, and the American Educational Studies Association.

10. We are listed as a resource on numerous Women’s Studies web pages such as Clark University, the University of York, University of Wisconsin, DePauw University, and the University of Wisconsin-Madison.

11. We have signed a contract to appear in Gender Watch database, which will bring the journal on line as a Women’s Studies resource at over 100 libraries.

12. We were chosen as the Website of the week at www.artwomen.org.

13. Femspec is available at a reduced rate for members of the Science Fiction Research Association (www.sfra.org).

Editors

Editor: Batya Weinbaum

Founding Co-Editor: Robin Anne Reid

Book Review Editor: Edrie Sobstyl

Past Associate Editor: Ritch Calvin

Advisory Board: Suzy Charnas, Florence Howe, Joanna Russ, Pamela Sargent

Contributing Editors: Marleen S. Barr, Samuel R. Delany, Gloria Orenstein, Darko Suvin

Editorial Board: Cristina Bacchilega (University of Hawaii-Manoa), Beatriz Badikian (Roosevelt University), William Clemente (Peru State College) ,Theresa Crater (Metropolitan StateCollege of Denver), Kathe Davis (Kent State University), Joan Gordon (Nassau Community College), Veronica Hollinger (Trent University), Phillipa Kafka (Professor Emerita), Sylvia Kelso (James Cook University), Laurel Lampela (University of New Mexico), Claudia Mesch (Arizona State University), Lynne Reed (HOWL), Gina Wisker (Anglia Polytechnic University, Cambridge)

Editorial Consultants: Sima Aprahamian, Brian Attebury, Bruce Beatie, Christine Boyko-Head, Cheryl Brooke, Elizabeth Pandolfo Briggs, Marcus Casal, Debra Rae Cohen, Tama Engleking, Mary Fambrough, Kass Fleisher, Sibelian Forrester, Joanne Gallivan, John Gerlach, Annie Jovan-Westlund, Susan Kornfield, Randal Knoper, Helen M. Kress, Ted Lardner, David Larson, Antonio Medina-Rivera, Patricia Melzer, Liora Moriel, Diana Orendi, Donna Phillips, Ruth Schwartz, Carol Stevens, Alana Suskind

---Biographies---

Batya Weinbaum taught multicultural literature at Cleveland State University, 1998-2003 and currently edits the journal at home as well as researching and writing for Women Review of Books, WeMoon, various encylopedias, and continuing to publish her own critical and creative work. She received her PhD from University of Massachusetts at Amherst in 1996, and a Masters from SUNY Buffalo in American Studies in 1986. She has published Islands of Women and Amazons: Representations and Realities (U of Texas Press, 1999) and two books of feminist theory with South End Press, and a collection of short stories with Clothespin Fever. Her critical work has appeared in such journals as NWSAJournal, Studies in American Jewish Literature, Utopian Studies, Monthly Review, Review of Radical Political Economics, Extrapolation, Science Fiction Studies, Foundation, Women in Judaism, Biography, Frontiers, and Studies in Progressive Judaism as well as Peace Review. She has also published fiction and poetry in venues such as Home Planet News, Spectrum, Key West Review, Feminist Review, Town Crier, Big Fish, and ThoughtCrime. She is the mother of one, Ola, and in the summer really craves VT. She is working on an eight act play, Waiting for Justice, and completion of a novel, Mirages and Nightmares: Sasha Weitzwoman in the Mad Hotel, which is about Jerusalem. She works with the Cleveland Heights Homegrown Learners Cooperative, and lectures on such topics as Ecopsychology and Healing. She sells her own art online at reclamationproject.info, and wearable arts products at redserpentarts.com. Proceeds help to support the functioning of the journal.

Robin Reid received her doctorate degree from the Univeristy of Washington in 1992, and she is currently an Assistant Professor of English at the Texas A&M University-Commerce. She has published both Ray Bradbury: A Critical Companion and Arthur C. Clarke: A Critical Companion. Her essays have appeared in Science Fiction Studies, SFRA Review, Feminist Nightmares, and Diversity: A Journal of Multicultural Issues.

Ritch Calvin is currently an Instructor of Women's Studies at SUNY Stony Brook. He holds a PhD in Comparative Studies (with a Graduate Certificate in Women's Studies). His dissertation, entitled, "A Feminism of Their Own: Escritoras mexicanas, Chicana Writers and Autochthonous Feminisms," examines the feminism of four writers: Rosario Castellanos, Brianda Domecq, Gloria Anzaldúa and Ana Castillo. He has written on a variety of topics and writers, including, Gilles Deleuze, Kathy Acker, Jorge Luis Borges, Philip K. Dick, and C. J. Cherryh. His publications have appeared in Enculturation, Feminism in a Multi-Cultural Context, and SFRA Review.

Born in Manhattan, New York, Suzy McKee Charnas was educated at Barnard College and New York University. The writer of original and highly regarded novels, she was awarded the Nebula Award, Mythopoetic Society Award for a best children's book, and a Gilgamesh Award for best fantasy stories. Her "Boobs," a short story, won the Hugo Award in 1989. A noted History and English teacher in a girl's high school in Nigeria, Suzy Charnas also served in the United States Peace Corps. Her books include: The Slave and the Free (Orb 1999), The Conqueror's Child (Tor 1999), The Furies (Tor Books 1994), Dorothea Dreams (Arbor House 1986), and The Bronze King (Houghton 1985).

Born in New York, Florence Howe was educated at Hunter College, Smith College, and the University of Wisconsin. From the many positions that she has held, Howe was a lecturer in English, a professor of English, and the founder and president of the Feminist Press. As a writer, editor, and publisher, she won the awards of the National Endowment for the Humanities Research Fellowship in 1971-73, many other fellowships, including the Ford Foundation Fellowship for the study of women in.society, and the Hall of Fame honor at Hunter College. As a contributer to the field of women's studies and feminist scholarship, Florence Howe has made a unique and critical voice for the American feminist movement, especially as founder of the Feminist Press.

Born in New York, Joanna Russ was educated at Cornell University and Yale University. She held many positions as a lecturer in speech, assistant professor of English, and professor of English at the University of Washington. Combining a feminist'perspective and a sophisticated style in writing science fiction novels, Joanna has become the recipient of the Nebula Awards, Hugo Award, and the National Endowment for the Humanities Fellow in 1974-75. From her many short stories, "When It Changed," won a Science Fiction Writers of America Award in 1972. Her The Female Man, published in 1975 remains a classic in feminist science fiction. Her other books include: What Are We Fighting For?: Sex, Race, Class, and the Future of Feminism (St. Martin's Press 1998), To Write Like a Woman: Essays in Feminism, and Science Fiction (Indiana University Press 1995) Magic Mommas, Trembling Sisters, Puritans and Perverts: Feminist Essays (Crossing Press 1985), Kittatinny: A Tale of Magic (Daughters Publishing 1978), and Alyx (G. K. Hall 1976).

Pamela Sargent (1948 --) is the author of numerous novels and short stories, and she has edited a number of anthologies. Among her novels are Cloned Lives (1976), The Golden Space (1982), The Alien Upstairs (1983), Eye of the Comet (1984), The Shore of Women (1986), and Heart of the Sun (1997). She has also authored the popular Venus series, which includes the novels, Venus of Dreams (1986), Venus of Shadows (1988), and Child of Venus (2000). Her short fiction has appeared in Asimov's, The Magazine of Fantasy & Science Fiction, If, Orbit, and Universe. The short fiction has also appeared in a number of collections, including Starshadows (1977), The Best of Pamela Sargent (1987), Behind the Eyes of Dreamers and Other Short Novels (2002), and The Mountain Cage and Other Stories (2002). Among her edited collections are Bio-Futures (1976), Women of Wonder (1975), More Women of Wonder (1976), The New Women of Wonder (1978), Women of Wonder: The Classic Years (1995), and Women of Wonder: The Contemporary Years (1995). Sargent has contributed several books to the Star Trek universe.

Paula Gunn Allen (1939- 2008), a poet, novelist, and editor, was born in Albuquerque, New Mexico, and grew up in Cubero, New Mexico. She received a bachelor's degree in English (1966) and a Master of Fine Arts degree in creative writing (1968) from the University of Oregon. She received her doctorate in American studies with an emphasis on Native American literature (1975) from the University of New Mexico. Her books of poetry include The Blind Lion (1974), A Cannon between My Knees (1981), Shadow Country (1982), and Life Is a Fatal Disease (1996). Her novel, The Woman Who Owned the Shadows was published in 1983. In addition, she has contributed to The Sacred Hoop: Recovering the Feminine in American Indian Traditions (1986), Grandmothers of the Light: A Medicine Woman's Sourcebook (1991), As Long as the Rivers Flow: The Stories of 9 Native Americans (with Patricia Clark Smith) (1996). Finally, she has edited From the Center: A Folio: Native American Art and Poetry (1981), Studies in American Indian Literature: Critical Essays and Course Design (1983). Spider Woman's Granddaughters: Traditional Tales and Contemporary Writing by Native American Women (1990), Voice of the Turtle: American Indian Literature, 1900-1970 (1994), and Song of the Turtle: American Indian Literature, 1974-1995 (1996). Memorial Site: http://www.paulagunnallen.net/

Marleen S. Barr is a Visiting Scholar at Columbia University. She won the 1997 Science Fiction Research Association Pilgrim Award for lifetime achievement in science fiction criticism. Her most recent book is Genre Fission: A New Discourse Practice for Cultural Studies.

Samuel Delany, born in New York, attended the City College in New York, 1960, and 1962-63. As a writer, he won the Nebula and Hugo Awards. Samuel Delany is also a noted author of scripts, a director, and an editor for two short films. His best novel is Babel-17, a winner of the Science Fiction Writers of America Award in 1966. Samuel Delany has also earned the notation as the innovative and imaginative science fiction writer of today. He currently teaches Queer Studies at Temple University. His other books include The Bridge of Lost Desire (Arbor House 1987), Dhalgren (University Press of New England 1996), Atlantis: Three Tales (Wesleyan University Press 1995), The Star Pits (Tor Books 1989), and Equinox (Masquerade 1994).

Gloria Orenstein received her Ph.D. in 1971 from NYU, a Masters in 1961 from Radcliffe, and a BA in 1959 from Brandeis. She is a tenured professor in the Deptartment of Comparative Literature at University of Southern California, where she also works in Gender Studies. She has previously taught at Douglass College of Rutgers University, and organized the NYC Women's Salon in the 1970s. She is active in the field of ecofeminism, and has published numerous articles on literature, art, ecofeminism, shamanisn and religion Her books published include Multicultural Celebrations: The Paintings of Betty LaDuke (1993), The Reflowering of the Goddess (1990), Reweaving the World: The Emergence of Ecofeminism (1990), and The Theater of the Marvelous: Surrealism and the Contemporary Stage (1975).

Darko Suvin was a professor of English and Comparative Literature at McGill University in Montreal until he retired. He is also an author of Russian Science Fiction in 1956-1974, and other works. He serves FEMSPEC as a Contributing Editor and a noted author. His books include the ground breaking Metamorphoses of Science Fiction (1979), Victorian Science Fiction in the UK: The Discourses of Knowledge and Power (1983), and To Brecht and Beyond (1984). For several years he also edited Science-Fiction Studies.

A part of the faculty of the University of Hawaii at Manoa, Cristina Bacchilega is a Professor in the Department of English. She received a B.A. from the University of Rome, Italy, and an M.A. and a Ph.D. from the State University of New York at Binghamton. She also is a writer of contemporary fiction, folklore, fairy tales, and feminist theory. Her awards include the Guggenheim Fellow in 2001, the Board of Regents' Award for Excellence in Teaching in 1991, and the College of Languages, Linguistics and Literature Excellence in Teaching Award in 1988. Cristina has published on Angela Carter, Margaret Atwood, Maxine Hong Kingston, women writers and the fairy tale, and fairy tales in Hawaii. Her current work includes a study of the representation of place in twentieth-century narratives that adapt native Hawaii's traditional stories. She is also the reveiw editor of Marvels & Tales: Jouranl of Fairy-Tale Studies.

Beatriz Badikian was born in Buenos Aires, Argentina and has resided in Chicago since 1970. In 1994 Badikian earned her Ph.D. in Creative Writing from the University of Illinois at Chicago, where she specialized in poetry and multiethnic literature. Since 1994 Badikian has been a faculty member at Roosevelt University where she teaches literature., writing, and women's studies. Her publications include: Mapmaker Revisited. (Gladsome 1999); Mapmaker (Red Triangle 1994); Akewa is a Woman and Other Poems (Abrazo Press 1989). Her poems have also been translated and published in India, Greece, Mexico, Argentina, and Canada.

Since 1992, Bill Clemente has taught at Peru State College in southeastern Nebraska, where he is a Professor and Chair of English. His teaching schedule includes a variety of courses, including Non-Western Literature, Film Studies, Creative Writing, and World Literature. A few years ago, he introduced a composition course that focuses on Science Fiction, which he tries to teach once a year. Director of the college's Honors Program, he also offers a course on Asian Literature. A reader of sf for nearly forty years, Bill has been a fan and a student of Feminist sf for the past decade and some change. He was also a judge for the James Tiptree Award, which honors gender-bending Speculative Fiction. His publications in that area include essays on James Tiptree, Jr. and Suzy Charnas. Bill and his wife, Linda, are also the authors of a biography of one of Canada's premier authors: Gabrielle Roy: Creation and Memory. In addition, Bill is an avid bird watcher and the editor of The Nebraska Bird Review.

Theresa Crater did her undergraduate work in English at the University of North Carolina at Greensboro, the school where you can throw a rock and it will hit at least two writers. Then, Theresa studied Vedic philosophy and taught meditation until she ran out of money. Deciding she did not want to be a secretary for the rest of her life, she returned to graduate school and received her Ph.D. from the University of Washington, in beautiful, rainy Seattle. Theresa's first teaching job was in the Writing Center at the Evergreen State College, the alternative school that had the distinction of being slated for closure by right-wing state senators every four years until it gained aninternational reputation. Theresa went on to teach humanities and writing at South Puget Sound Community College. Seeking the sun, she moved to Colorado and has been at Metropolitan State College of Denver since 1992. Theresa has written one novel, God in a Box, about her experiences in the meditation movements of the 1970s, and is working on a second, Key to the Halls, an Egyptian mystery. She has edited a composition reader, Outside the Box, looking at paradigm shifts in various disciplines, due out from Longman in 2003. Her scholarly writings have focused mainly on Virginia Woolf, Doris Lessing and The X-Files.

Kathe Davis is Director of Women's Studies at Kent State University in Ohio, where she teaches women's writing, contemporary poetry and gender issues. She has published on early science fiction, popular film, Ursula Le Guin and Doris Lessing, Adrienne Rich, Randall Jarrell, Robert Bly, and, most copiously, on John Berryman. Besides the topics above, she has presented papers on Rita Dove, Louise Bogan, Jane Cooper, Ani di Franco, Elizabeth Bishop, Hitler, masculinity studies, addiction, Stephen King, feminist sword and sorcery, nexialism, and the 1995 UN Fourth World Conference on Women in Beijing, where she was a delegate at the NGO Forum. She is on the editorial board of Extrapolation, and has guest-edited a special issue on Women and Science Fiction, as well as writing numerous reviews. Her poems have appeared in Hurricane Alice (Providence), the collections Opening Doors and Great Lake Erie: Imagining an Inland Sea, and in such Cleveland-area little magazines as Art Crimes, The Coventry Reader, and The Time of Your Life. She is also included in A Gathering of Poets (1991), the anthology commemorating the May 4, 1970 shootings at Kent State. She lives in the woods of the Cuyahoga Valley National Park with her partner and two cats.

Joan Gordon is an Associate Professor of English at Nassau Community College. She is an editor of Science Fiction Studies and has co-edited two volumes of scholarly essays for UPenn with Veronica Hollinger, Blood Read: The Vampire as Metaphor in Contemporary Culture (1987) and Edging Into the Future: Science Fiction as Contemporary Cultural Transformation (forthcoming).

Veronica Hollinger is Associate Professor of Cultural Studies at Trent University in Peterborough, Ontario. She is co-editor of the journal Science Fiction Studies and Vice-President of the International Association for the Fantastic in the Arts and has published many articles on science fiction and speculative literature, especially feminist and postmodern fantastic fiction. With Joan Gordon, she has co-edited Blood Read: The Vampire as Metaphor in Contemporary Culture (University of Pennsylvania Press 1997) and Edging into the Future: Science Fiction and Contemporary Cultural Transformation (University of Pennsylvania Press 2002). She is a past winner of the SFRA's Pioneer Award.

Phillipa Kafka is currently Professor Emerita at Kean University, Union, New Jersey, and the former Director of its Women's Studies Program. An active participant in the Second-Wave feminist movement, she was also a pioneer in multi-ethnic studies. She has published essays, reviews, poetry, and four full-length works of feminist literary criticism: The Great White Way: African-American Women Writers and American Success Mythology (Garland, 1993); (Un)Doing the Missionary Position: Gender Asymmetry in Contemporary Asian American Women's Writings (Greenwood, 1997); (Out)Classed Women: Contemporary Chicana Writers on Inequitable Gendered Power Relations (Greenwood, 2000); and "Saddling LaGringa": Gatekeeping in Contemporary Latina Writers (Greenwood, 2000). Most recently, she edited a collection of memoirs and essays, Lost on the Map ofthe World: Jewish-American Women's Quest for Home, 1890-Present (Peter Lang, 2001).

Sylvia Kelso is currently a part-time lecturer and tutor at James Cook University in Townsville, North Queensland, Australia. She has taught English there since 1985 and in addtion is currently contributing to a course on Science Fiction and Fantasy in the Social Sciences school. She has published poetry, including a contribution to an Australian Women's Anthology, and essays, and reviews on fantasy, science fiction, modern female Gothic or mystery novels and modern male horror writers like Stephen King. Her essays have appeared in Science-Fiction Studies, Foundation, the Journal of the Fantastic in the Arts, Para.Doxa: Studies in World Literature, and The New York Review of Science Fiction. She is currently an editorial board member for Para.Doxa. She has a PhD on the interaction of feminism with modern Gothic and science fiction, and has just submitted a Creative Writing MA based round an sf novel set in alternate North Queenslands. A long-term creative writer, she is also working on publication of a fantasy novel.

Dr. Laurel Lampela is an Associate Professor who teaches courses in the History of Art Education, Secondary Art Methods, Studio Art in the Schools - Printmaking, and Feminism and Art. She has been on the faculty at UNM since August 2001. Previously she was Associate Professor in the Department of Art at Cleveland State University, Cleveland, Ohio for 10 years and an Assistant Professor in the Department of Art at Marshall University for one year. Dr. Lampela is co-editor of "From Our Voices: Art Educators Speak Out About LGBT Issues" [Lampela, L. & Check, E., (Eds.), 2003, Kendall- Hunt Publishers]. She has published a book chapter in "Realworld Readings in Art Education: Things Your Professors Never Told You" (2000, Falmer Press) and numerous articles in "Studies in Art Education," "Art Education," and "Taboo: A Journal of Culture and Education." Dr. Lampela is the co-founder of the Lesbian, Gay, Bisexual, and Transgendered Issues Caucus of the National Art Education Association.

Claudia Mesch teaches 20th- and 21st-century art history and art theory at Arizona State University. Her research and publications have focused on performance-oriented art after 1945. Among other things, she is currently thinking about the appearance of the Queen of Mud and other female sci-fi personas in recent art.

As an undergraduate at Tufts University, Lynne Reed studied in 16 different departments, reflecting her multidisciplinary mind. Graduating in 1978 with a BA in Drama, she focused primarily on theatrical lighting in NYC for many years, fast forwarding through Textile Design, Owner of a Multicultural Spiritual Bookstore, and Teaching in the NYC Public School System. Leaving the fast track, Lynne is currently living at Spiral, a lesbian intentional community, with the time to edit, write and paint. For info on retreat cabins, e-mail spiralwimmin@juno.com.

Gina Wisker is coordinator of Women's Studies at Anglia Polytechnic University in Cambridge, UK where she is also director of learning and teaching development and teaches English literature. Her publications range from postcolonial: Postcolonial and African and American Women's Writing: A Critical Introduction (Macmillan 2000), Insights into Black Women's Writing (Macmillan 1993), to horror and fantasy: It's My Party: Reading Twentieth Century Women's Writing (ed.1994), Fatal Attractions: Rescripting Romance in Contemporary Literature and Film (ed.Lynne Pearce 1998), and several essays on women's vampire fictions in, among others, The Companion to Gothic (ed. David Punter), and on Angela Carter, and she co-edits Spokes, a poetry magazine. She was brought up all over the world , re-visits and travels at every oppportunity and lives in Cambridge UK with her husband, two sons, and two small dogs. She is currently editing a women's horror edition of FEMSPEC.

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FEMSPEC INDEX

This is a giant set of lists, first an index of everyone who has contributed, then more lists split into Criticism, Reviews, Fiction, Poetry, Interviews, Art and Memorials.

By Contributor |

Alcaly-Gut, Karen (4.2)
Alegre, Sara Martin (4.1)
Allen, Louise (3.2)
Anthony, Albert (5.1)
Andres, Tina (8.1/2)
Ardys of Berkeley (7.2)
Austin, Kathie (6.2)
Attebery, Brian (1.2)
Averbach, Margara (2.2)

Ball, Kat (2.2)
Bannan, Helen (8.1/2)
Baringer, Sandra (2.2)
Barr, Marleen S. (1.1); (2.1); (4.2); (7.1)
Barr, Scott (4.2)
Beatie, Bruce (3.1)
Betts, Tara (5.1)
Biressi, Anita (4.1)
Black, Sharon (5.2)
Blinebury, Beth (5.1)
Bogstad, Janice M. (1.1); (5.1)
Bould, Mark (5.1)
Bow, Beverly (6.2)
Briggs, Elizabeth Pandalfo (3.1); (5.1)
Broner, E. M. (4.2)
Brown, James D (8.1/2)
Buckman, Alyson (4.2)
Burton, Nsenga K. (4.2)
Butler, Andrew (5.1)

Calvin, Ritch (3.1); (8.1/2)
Casal, Marcus (2.1)
Charlick, Robert (4.2)
Charnas, Suzy MeKee (4.1)
Church, Kelly Jean(2.2)
Cirrone, Dorian (3.1)
Clemente, William (1.1)
Cochran, Tanya (6.2)
Cohen, Debra Rae (4.2)
Cook, Barbara J. (5.1)
Crater, Theresa A. L. (3.1); (5.1)
Crosby, Janice (2.1); (5.1)
Croyden, Christine (2.1)
Crump, Helen (6.1)
Cruz, Candra (2.2); (7.1)
Csicsery-Ronay Jr., Istan (5.1)
Cummings, Gerardo T. (5.1); (8.1/2)
Curtis, Sheryl (5.2)

Daly, Cathy (7.1)
Davis (8.1/2)
De Giacoman, Monica De Neymet (7.2)
DeGraw, Sharon (4.2)
Delany, Samuel R. (1.1)
Delu, Ardys (8.1/2)
Deman, J. Andrew (6.2)
DeWitt, Jim (7.1)
Dickinson, Stephanie (7.1)
Dimovitz, Scott A. (6.2)
Doran, Christine (3.2)
Dorozario, R. C. (7.1)
Douglas, Marcia (6.1)
Drown, Eric M. (7.1); (7.2)
Due, Tananarive (3.2)
Drushel, Bruce E. (7.2)

Eisenstein, Linda (1.2)
Epstein, Marion (6.2)
Eros, Paul (5.1)

Fambrough, Mary (1.1)
Ferreira, Aline (4.1)
Francisco, Allison (2.2)
Fullerton, Romayne Smith (7.2)

Gage, Carolyn (5.2)
Gale, Marilyn (4.2)
Geary, Joe (5.2)
Gehiere, Bruce (5.1)
Gish, Robert (2.2)
Giunta, Edvige (5.2); (7.1)
Goldberg, Wendy (5.2)
Govan, Sandra (4.2)
Grabowski, Rita (4.2)
Greenbaum, Andrea (4.1)
Guess, Carol (3.2)

Hains, Rebecca C. (5.2)
Hake, Liisa (1.2); (3.1)
Harper, Mary Catherine (2.1)
Harris, Clare Winger (3.1)
Harrison, Janet (7.1)
Hawkins, Cathy (5.1)
Hoefel, Roseanne (2.2)
Hollinger, Veronica (2.1)
Holland-Toll, Linda (8.1/2)
Hood, Yolanda (6.1)
Hopkinson, Nalo (6.1)
Houston, Shannon Mariana (4.2)

Jacques, Alison (5.2)
Jenkins, Candace M. (6.1)
Johnson, Linda (2.1)
Johnston, Nancy (1.2); (2.1)
Jones, Jennifer (3.1)
Jowett, Lorna (4.1)
Jurich, Marilyn (4.2)

Kafka, Phillipa (2.1); (3.1); (3.2); (4.2)
Kazalia, Marie (7.1)
Kiefer, Geraldine Wojno (5.1); (8.1/2)
Kelley, Brian (4.2)
Kelley, Elizabeth (7.1)
Kelso, Sylvia (1.2); (2.1)
Kendall, Kathleen (4.1)
King, Sharon (6.2)
Kirk, Mary (7.2)
Kleiner, Elaine (2.2)
Kray, Susan (4.2)
Kuhl, Nancy (3.2)

Laity, K. A. (5.2); (8.1/2)
Lassner, Phyllis(4.2)
Lavigne, Carlen (6.2)
Lehfeldt, Elizabeth A. (3.1)
Leonard, Tara (3.2)
Lesses, Rebecca (3.2)
Levine, Emmy (3.1)
Liddell-King, Jane (3.2)
Lifshin, Lyn (5.2)
Littlecrow-Russell, Sara (2.2)
Long, Mary Beth (5.2)
Lupoff, Richard A.(3.1)

Mabee, Barbara (1.2)
Marinara, Martha (3.1)
Matchie, Tom (2.2)
Matisons, Michelle Renee (5.1)
McAdams, Janet (2.2)
McAuliffe, Moira (3.1)
McConnell, Kathleen (7.2)
McCauley, Carole Spearin (6.2)
McGregory, Jerrilyn (6.1)
McLean, Susan (7.1)
Melzer, Patricia (3.2); (5.1)
Meredith, America (2.2)
Merril, Judith (4.2)
Meyer, Sabine (4.1)
Michlitsch, Gretchen (6.1)
Middents, Jeffrey (5.1)
Minchinton, Barbara (2.1)
Moore, Louise (8.1/2)
Moriel, Liora (4.2)
Morris, Abigail (5.2)
Morrison, Monique (4.2)
Murphy, Katherine (3.1)
Murphy, Suzanne Zahrt (2.2)
Murray, Robin (3.1)
Musgrave, Megan (6.2)

Newsom, Victoria Anne (5.2)
Nicte-Ha (1.2)
Nwankwo, Ifeoma C. K. (4.2)

Orendi, Diana (4.2)
Orenstein, Gloria Feman (1.1); (1.2); (2.1); (4.2) ; (7.2); (8.1/2)
Orr, Delilah (2.2)
Ortman, Pat (8.1/2)

Pagan, Darlene (3.1)
Paley, Cynthia Feldman (3.1)
Palma, Shannan (7.2)
Panofsky, Ruth (8.1/2)
Patterson, Kathy Davis (6.1)
Pettigrew, Dawn Karima (2.2)
Phillips, Donna Burns (3.1)
Pike, Earl (1.1)
Pough, Gwendolyn D. (6.1)
Pratt, Annis Vilas (2.2); (3.1); (3.2)
Price, Shelley (5.1)
Putnam, Amanda A. (5.2)

Redmond, Glenis (7.1)
Reed, Lynee (6.2) (8.1/2)
Reid, Robin Anne (1.1)
Robb, Donna Marie (4.2)
Rose, Carol (4.2)
Ross, Sharon (5.2)
Russell, Doreen (4.1)

Salaam, Kiini Ibura (6.1)
Salas, Gerardo Rodriguez (6.2)
Salazar, Cristian (3.1)
Sargent, Pamela (4.2)
Saunders, M. Sean (5.2)
Scheef, Debra (7.1)
Schein, Lorraine (3.2); (4.2)
Schneider, Karen (2.1); (3.1)
Schwartz, Kaila (2.2)
Scott, Justin (5.2)
Self, Emily (5.2)
Sellers, Stephanie (2.1); (2.2)
Setton, Ruth Knafo (1.2)
Shaw, Andrea (6.1)
Shaw, Debra Bonita (7.1)
Shaw, Diona (5.1)
Shaw, Louise (4.1)
Simmons, Diane (2.1)
Sin, Aseret (6.1)
Smith, Anne Collins (1.2)
Smith, Erin A. (3.2) ; (6.2); (7.1)
Sommerville, Kristine A. (5.2)
Sonnenschein, Dana (7.1)
Springer, Christina (1.1)
Springer, Jennifer Thorington (6.1)
Stadler, Cathy (3.2)
Starhawk (7.1)
Stone, Leslie F. (1.1); (2.1); (4.2)
Stratton, Susan (3.1)
Street, Ella Jo (7.2)
Surkan, K. (5.1)
Suvin, Darko (1.1); (3.2)

Thomas, Alicia (6.1)
Thompson, Aida (7.1); (7.2)
Thorpe, Douglas (5.2)
Toll, Linda Holland (6.2)
Tomaszyk, Frances (4.1)
Tomberg, Shoshana (3.1)
Trawick, Leonard (3.1)
Turner, Stephanie S. (4.2)

Ungar, Barbara Louise (1.2)

Vance, G. Warlock (5.1)
Vanderford, Audrey (4.2)
Vlaicu, Angela (2.2)

Warne, Vanessa (5.2)
Washington, Teresa N. (6.1)
Wisker, Gina (8.1/2)
Weinbaum, Batya (1.1); (1.2); (2.1); (2.2); (3.1); (3.2); (4.2); (5.1); (7.1) ; (8.1/2)
West, C. S'Thembile (7.2)
Wilkerson, Carmiele Y. (6.1)
Williams, Lynn (1.2)
Wisker, Gina (3.1); (3.2); (4.1);(6.1)
Wolpert, Ilana (4.2)
Wood, Sarah (6.1)
Wray, Phoebe (1.2)

By Author and Article (Criticism, Review, Fiction, Poetry, Interviews, Art, Memorial)

CRITICISM

A

Sara Martin Alegre, The Other in Me: Nancy Collins’s Vampire Heroine, Sonja Blue (4.1)
Louise Allen, Monkey Business: Planet of the Apes and Romantic Excess (3.2)
Tina Andres. Growing Thick Skin (8.1/2)
Brian Attebery, Women Alone, Men Alone (1.2)
Margara Averbach, Technology, “Magic,” and Resistance in Native American Women’s Writing (2.2)

B
Sandra Baringer, The Terror of the Liminal: Silko’s Almanac and Klein’s Phantasy Paradigm (2.2)
Helen Bannan. Derailed but Not Defeated (8.1/2)
Marleen S. Barr, Interview with Janet Asimov (2.1)
Anita Biressi, True Crime, Medicine, and Corporeal Horror (4.1)
Alyson Buckman, "What Good Is All This to Black People?" Octavia Butler's Reconstruction of Corporeality (4.2)

C
Dorian Cirrone, Millenial Mothers: Reproduction, Race, and Ethnicity in Feminist Dystopian Fiction (3.1)
William Clemente, WisCon 22 and the (Not So) Secret Feminist Cabal (1.1)
Theresa Crater, The Resurrection of Morgan le Fey: Fallen Woman to Triple Goddess (3.1)
Janice Crosby, The Snow Queen and the Goddess in the Machine (2.1)

D
Jane Davis. The Value of Stupidity: Negative Values in Academia (8.1/2)
Sharon DeGraw, "The More Things Change, the More They Remain the Same": Gender and Sexuality in Octavia Butler's Oeuvre (4.2)
J. Andrew Deman, "Taking Out the Trash: Octavia E. Butler's Wild Seed and the Feminist Voice in American SF." (6.2)
Scott A. Dimovitz, "Cartesian Nuts: Rewriting the Platonic Androgyne in Angela Carter's Japanese Surrealism." (6.2)
Christine Doran, Fantasy as History: The Invention of Cixi, Empress of China (3.2)
R.C. Dorozario. "The Consequences of Disney Anthropomorphism." (7.1)
Eric M. Drown. "Business Girls and Beset Men in Pulp Science Fiction and Science Fiction Fandom." (7.1)
Drushel, Bruce E. "Pandora's Box in Cyberspace: The On-line Alternative Fan Sites of Hercules: The Legendary Journey." (7.2)

E

F
Mary Fambrough, Transcending Gender: Challenging the Binary. Divide at the Third International Congress on Sex and Gender (1.1)
Aline Ferreira, Artificial Wombs and Archaic Tombs: Angela Carter’s The Passion of Eve and the Alien Tetralogy (4.1)

G
Robert Gish, Voices from Bear Country: Leslie Silko’s Allegories of Creation (2.2)
Andrea Greenbaum, Bio-Technology as Kabbalah: Reconfiguring the Golem Myth in Alien Resurrection and Species (4.1)
Sandra Govan, The Parable of the Sower as Rendered by Octavia Butler: Lessons for Our Changing Times (4.2)

H
Rebecca C. Hains, The Problematics of Reclaiming the Girlish: The Powerpuff Girls and Girl Power (5.2)
Mary Catherine Harper, Mending the Rationality/Romanticism Divide in the Study of Women’s Science Fiction (2.1)
Janet Harrison. "The Muse Unmasked: Eileen Agar's Objectives Correlatives." (7.1)
Roseanne Hoefel, Narrative Choreography toward a New Cosmogony: The Medicine Way in Linda Hogan’s Novel Solar Storms (2.2)
Linda Holland-Toll. What to Do When You Are Stuck at Toxic U: Strategies for Avoidance, Sabotage, and Survival (8.1/2)
Veronica Hollinger, The Utopia of the Perverse: An Exercise in “Transgressive Reinscription” (2.1)
Nalo Hopkinson, Address Given at The College of New Jersey, Department of African American Studies, 30th Anniversary Symposia: "Afrofuturism: Womanist Paradigms for the New Millennium" (6.1)

I

J
Alison Jacques, "Lucky Jupiter Meets Your Ruler": Otherworldly Sources of Girl Power in Magazine Horoscopes (5.2)
Nancy Johnston, “I Would Have Swallowed the Kiss”: Reflections on Feminist Speculative Poetry (2.1); Made in Canada (1.2)
Lorna Jowett, “Mute and Beautiful”: The Representation of the Female in Anne Rice’s Interview with the Vampire (4.1)

K
Sylvia Kelso, No Place, the Good Place, a New Place (1.2); Third Person Peculiar: Reading between Acamenic and SF-Community Positions in Feminist SF (2.1)
Kathleen Kendall, Who Are You Afraid Of?: Young Women as Consumers and Producers of Horror Films (4.1)
Geraldine Wonja Kiefer. Overlays, Matrices, and Boundaries: A “Mixed-Media” Approach in Pedagogy and Art (8.1/2)
Kirk, Mary. "Vision of the Possible: Models for Women's Heroic Journey Applied to Madrone's Path in The Fifth Sacred Thing." (7.2)
Elaine Kleiner and Angela Vlaicu, Revisioning Woman in America: A Study of Louise Erdrich’s Novel The Antelope Wife (2.2)
Susan Kray, Refamiliarization: Jewish Women in the Narrative Strategies of "Pulp" Science Fiction Magazine Stories, 1993-2000 (4.2)

L
Carlen Lavigne, "Space Opera: Melodrama, Deminism and the Women of Farscape." (6.2)

M
Barbara Mabee, Reception of Fairy Tale Motifs in Texts by Twentieth-Century German Women Writers (1.2)
Tom Matchie, Fighting the Windigoo: Winona LaDuke’s Peculiar Postcolonial Posture in Last Standing Woman (2.2)
Jerrilyn McGregory, Nalo Hopkinson's Approach to Speculative Fiction (6.1)
Patricia Melzer, “All that you touch you change”: Utopian Desire and the Concept of Change in Octavia Butler’s Parable of the Sower and Parable of the Talents (3.2)
Judith Merril, That Only a Mother (4.2)
Sabine Meyer, Passing Perverts, After All: Vampirism, (In)Visibility, and the Horrors of the Normative in Jewelle Gomez’ The Gilda Stories (4.1)
Gretchen Mitchlitsch, Breastfeeding Mother Rescues City: Nalo Hopkinson's Ti-Jeanne as Superhero (6.1)
Liora Moriel, An Introduction, or the Jacket Blurb Comes of Age (4.2)
Robin Murray, Terri Windling’s The Wood Wife: A Space for Complementary Subjects (3.1)
Megan Musgrave, "Phenomenal Women: The Shape-shifter Archetype in Postcolonial Magical Realist Fiction." (6.2)

N
Victoria Anne Newsom, Young Females as Superheroes: Superheroines in the Animated Sailor Moon (5.2)

O
Gloria Feman Orenstein, Journey through Mlle de Scudéry’s Carte de Tendre: A 17th-Century Salon Woman’s Dream/Country of Tenderness (3.2); NWSA 2000-Boston (2.1); The Surrealist Cosmovision of Bridget Tichenor (1.1); Vision and Visibility: Contemporary Jewish Women Artists Visualize the Invisible (4.2); When the Imaginary Becomes Real, as Surrealism Said It Would: 'All the Rest Is Litterature'.(7.2); Gertrude Stein as Mentor and Passing the Flame (8.1/2)
Delilah Orr, Bear, Mountain Lion, Deer, and Yellow Woman in Leslie Marmon Silko’s Ceremony (2.2)

PQ
Kathy Davis Patterson, 'Haunting Back': Vampire Subjectivity in The Gilda Stories (6.1)
Ruth Panofsky. Professor/Mother: The Unhappy Partnership (8.1/2)

R
Sharon Ross, Dangerous Demons: Fan Responses to Girls' Power, Girls' Bodies, and Girls' Beauty in Buffy the Vampire Slayer (5.2)

S
Gerardo Rodriguez Salas, "E.G.E. Bulwer Lytton's Covert Antifeminism in The Coming Race." (6.2)
Pamela Sargent, Jewish Enough (4.2)
Debra Bonita Shaw. "Sex and the Single Starship Captain: Compulsory Heterosexuality and Star Trek: Voyager." (7.1)
Diane Simmons, Maxine Hong Kingston’s Woman Warrior and Shaman: Fighting Women in the New World (2.1)
Smith, Romayne. "Not 'Of Woman Born': Fairy Tale Mothers for Postmodern Literary Children." (7.2)
Leslie F. Stone, Letter of the Twenty-Fourth Century (1.1); Out of the Void (2.1)
Susan Stratton, Intersubjectivity and Difference in Feminist Ecotopias (3.1)
Ella Jo Street. "The Origin of Tarot" (7.2)
Darko Suvin, Cloning: On Cognition in the Discourses of SF and Technoscience (3.2); Must Collectivism Be Against People What Remains Of Zamyatin’s We After The Change Of Leviathans: Reflections From Feminist And Other Standpoints (1.1)

T
Douglas Thorpe, Girl Power and the Discourse of Aging: The Example of Ursula K. Le Guin (5.2)
Linda Holland Toll, "Bluestockings Beware: Cultural Backlash and the Re/configuration of the Witch in Popular Nineteenth-Century Literature."
Frances Tomaszyk, Lunatics with Lethal Combat Skills: Dark Doubles, Bacchae, and Soulless Women in Xena: Warrior Princess (4.1)
Stephanie S. Turner, "What Actually Is": The Insistence of Genre in Octavia Butler's Kindred (4.2)

UV

W
Teresa N. Washington, Power of the Word/Power of the Works; the Signifying African Soul of Africana Women's Literature (6.1)
Batya Weinbaum, Interview with Marge Piercy (3.2); NWSA FEMSPEC Salon (1.2); NWSA 2000-Boston (2.1); SFRA 2000-Cleveland (2.1); Sex Role Reversals in Star Trek’s Planets of Women as Indices of Second Wave Media Protest (1.1); Memoirs of an Academic Career (8.1/2)

C. S'Thembile West. "The Competing Demands of Community Survival and Self-Preservation in Octavia Butler's Kindred." (7.2)
Lynn Williams, Separatist Fantasies 1690-1997: An Annotated Bibliography (1.2)
Gina Wisker, “Honey, I’m Home!”: Splintering the Fabrication in Domestic Horror (4.1); Women’s Horror as Erotic Transgression (3.1) 'Your Buried Ghosts Have A Way of tripping You Up': Revisioning and Mothering in African American and Afro-Caribbean Women's Speculative Horror (6.1)
Sarah Wood, Subversion through Inclusion: Octavia Butler's Interrogations of Religion in Wild Seed and Xenogenesis (6.1)
Phoebe Wray, Writer’s Respite at Wiscon ‘99 (1.2)

XYZ

REVIEWS: (alpha by author)

Scott Barr, Review of The Defiant Muse (4.2)
Bruce Beatie, Review of Teaching toward the 24th Century (3.1)
Janice M. Bogstad, A Little Light Shed On: Into Darkness Peering (1.1)
Beverly Bow, Reivew of Cambridge Anthology of SF (6.2)
James D Brown. On Paprika (8.1/2)
Elizabeth Pandalfo Briggs, A Ramble through Fantasyland (3.1)
Nsenga K. Burton, Review of Female Hip-Hop Artists in Outer Space (4.2)
Ritch Calvin, Review of Turning on the Girls (3.1); On Naomi Mitchison (8.1/2)
Marcus Casal, The Poet as Cartographer (2.1)
Robert Charlick, Review of Sleeping with Cats (4.2)
Tanya Cochran, The On-line International Community of Buffy Studies (6.2)
Debra Rae Cohen, Review of The Battle of the Sexes in Science Fiction (4.2)
Gerardo Cummings. On Alien Constructions (8.1/2)
Sheryl Curtis, Canadian Girl Power: Young Women Save the Day, happily-Ever-After Ending Unnecessary (5.2)
Ardys Delu. On Feminists Who Changed America (8.1/2); On Daughters of the Great Star
(8.1/2); On Code Pink (8.1/2); On The Red Rose Rages (8.1/2); On We, Robots (8.1/2)
Eric Drown: 'Buffy, Who?' Review of Athena's Daughters: Television's New Woman Warriors, edited by Frances Early and Kathleen Kennedy. (7.2) ; 'Ooooo!, We Hate Bush.' Review of Hollywood's New Radicalism: War, Globalization and the Movies from Reagan to George W. Bush, by Ben Dickerson (7.2)
Joe Geary, Young Women (and More) in Anime (5.2)
Liisa Hake, Review of The Jigsaw Woman (3.1); Two Reviews (1.2)
Candice M. Jenkins, Review of Black Sexual Politics: African Americans, Gender, and the New Racism (6.1)
Phillipa Kafka, Don Quixote, the Joads, and Jack Kerouac Move Over: A Chinese American Woman’s Adventures On the Road [of Life] (2.1); Review of Goja (3.1); Review of The Road to Fez (3.2); Review of A Spiritual Life (4.2)
Brian Kelley, Review of Dreaming the Actual (4.2)
K. A. Laity and Wendy Goldberg, Japanesse Magic: The Girl-Friendly Films of Hayao Miyazaki (5.2)
Phyllis Lassner, Review of Women's Holocaust Writing (4.2)
Elizabeth A. Lehfeldt, Review of Witches of the Atlantic World (3.1)
Emmy Levine, Review of Islands of Women and Amazons (3.1)
Mary Beth Long, Growing Up to Be Feminists: Reports on Girl Culture (5.2)
Richard A. Lupoff, Clare Winger Harris and “The Fifth Dimension” (3.1)
Gretchen J. Michlitsch, Review of The Salt Roads (6.1)
Monique Morrison, Octavia Butler Speaks: A Visit to Cleveland State University (4.2)
Suzanne Zahrt Murphy, Dream Poet: Marijo Moore (2.2)
Nicte-Ha, Dinotopia (1.2)
Doctress Neutropia. On The Secret DVD (8.1/2)
Ifeoma C. K. Nwankwo, Review of Brown Girl in the Ring (4.2)
Diana Orendi, Review of Soundless Roar (4.2)
Gloria Orenstein, Surrealist Women (1.2)
Darlene Pagan, Review of Behind the Blue Gate (3.1)
Shannan Palma: Review of From Alien to The Matrix: Reading SF Films, by Roz Kaveney (7.2)
Kathy Davis Patterson, Review of Minion: A Vampire Huntress Legend (6.1)
Donna Burns Phillips, Review of Mary Shelley’s Fictions
Earl Pike, Margins Made Visible (1.1)
Annis Vilas Pratt, Review of In the Footsteps of the Goddess (3.1); Review of Life Is a Fatal Disease (2.2); Review of The Golden Book of Springfield (3.2)
Amanda A. Putnam, Reading Sacred: Feminists Confronting Future Feminists (5.2)
Lynee Reed, The Song of the Goddess (6.2); On Becoming the Villanness (8.1/2)
M. Sean Saunders, Marwen's Web: Living on the Loom of the Mother (5.2)
Karen Schneider, On Women of Other Worlds (2.1); Review of White Turtle (3.1)
Kaila Schwartz, Elements of Trickster in the Children’s Books of Louise Erdrich (2.2)
Anne Collins Smith, The Exploration of Gender in Deep Space Nine and Sacred Time (1.2)
Erin Smith. Women Writing Pulp (7.1) ; Having a Good Cry: Effeminate Feelings and Pop-Culture Forms (6.2) ; “Saddling La Gringa” (3.2)
Jennifer Thorington Springer, Review of Whispers from the Cotton Tree Root: Caribbean Fabulist Fiction (6.1)
Alicia Thomas, Review of The Awakening: A Vampire Huntress Legend (6.1)
Audrey Vanderford, Review of The Raw Brunettes (4.2)
Vanessa Warne, Eyes Shining and Feet Kicking (5.2)
Batya Weinbaum, Reviews of The Bitch Is Back; Inanna; From Moon Goddesses to Virgins; The Lieutenant Nun (3.1); Review of Klezmer Music (4.2); Review of Summer with the Ghosts (5.2); interview with Diana Rivers (7.1); On Fissures (8.1/2)
Carmiele Y. Wilkerson, Review of Love (6.1)
Gina Wisker, Mothering in the African Diaspora (3.1); Reviews of “Saddling La Gringa”; (Out) Classed Women (3.2)
Ilana Wolpert, Review of Bee Season (4.2)

FICTION AND PLAYS (alpha by author)

Kathie Ausin, "Orion". (6.2)
K A Laity. Eating the Dream (8.1/2)
Marleen S. Barr, The Feminist Pathfinder Does Not Probe Mars (1.1); Close Encounters of the Monica Kind (4.2) ; Superfeminist Or, A Handmade Carol (7.1)
E. M. Broner, De-Winging the Angel (4.2)
Suzy MeKee Charnas, Evil Thoughts (4.1)
Christine Croyden, Interview with a Housework Beast (2.1)
Monica De Neymet De Giacoman. Living Hours (excerpt) (7.2)
Stephanie Dickinson. Grasshopper Woman (7.1)
Samuel R. Delany, Trouble on Triton – Excerpt (1.1)
Marcia Douglas, Marie-Ma (6.1)
Tananarive Due, Protection (3.2)
Linda Eisenstein, Revelation 24:12 (1.2)
Carolyn Gage, The Rules of the Playground: A One-Act Play (5.2)
Marilyn Gale, Lilith 1996 (4.2)
Girls’ SF by a 9-year-old, circa 1961, The Suncomers (1.1)
Carol Guess, Love Story with a Living Ghost (3.2)
Clare Winger Harris, Excerpts from “The Fifth Dimension” (3.1)
Linda Johnson, If the Sun and Moon Should Doubt… (2.1)
Sharon King, "Quiescent." (6.2)
Rebecca Lesses, A Dream Question for the Angels (3.2)
Martha Marinara, Ovum (3.1)
Janet McAdams, Plaza Bocanegra (2.2)
Carole Spearin McCauley, "Crone's Revenge." (6.2)
Abigail Morris, The Girl with the Metal Hair (5.2)
Dawn Karima Pettigrew, Manna Raptured (2.2)
Donna Marie Robb, Soul Spinner (4.2)
Doreen Russell, Spell (4.1)
Kiini Ibura Salaam, K-USH: The Legend of the Last Wero (6.1)
Debra Scheef. From The Archives... (7.1)
Justin Scott, The Truth in Dreams (5.2)
Stephanie Sellers, Coyote Wants a Baby (2.1); Father Coyote (2.2)
Ruth Knafo Setton, Beast (1.2)
Andrea Shaw, Jus' a Pinch of the Yellow Powder (6.1)
Louise Shaw, The Which Bitch? Project (4.1)
Kristine A. Sommerville, Runners (5.2)
Cathy Stadler, The Lost Tribe (3.2)
Leslie F. Stone: Cosmic Joke (4.2)
Aida Thompson. Thanksgiving Day (7.1)
Batya Weinbaum, Sasha's Harlem: Excerpts (4.2); Waiting for Justice (8.1/2)
Gina Wisker. New Blood (8.1/2)

POETRY

Karen Alcaly-Gut, One of Those Nights (4.2)
Sharon Black, Stone Dress (5.2)
Helen Crump, Morning Wake-up Sun (6.1)
Canda Cruz. The Goddess Rag; Avatar Blues (7.1)
Cathy Daly. Solo, Alone, False Apparitions, Untitled (7.1)
Jim DeWitt. While You're Waiting for the Wind? (7.1)
Edvige Giunta, "Stories of Sicilian Girls" and "Dark Play" (5.2)
Rita Grabowski, Recessively Blond (4.2)
Edvina Giunta. Night's Whispers (7.1)
Shannon Mariana Houston, Haiku (4.2)
Marilyn Jurich, Even Death is Uncertain without the Proper Forms (4.2)
Marie Kazalia. No Elvis Sightings (7.1)
Elizabeth Kelley. Letter (7.1)
Nancy Kuhl, If Kay Sage Painted Portrait as a Boy (3.2); The Hundred-headless Woman Opens Her August Sleeve: Part 2 (3.2)
Tara Leonard, Sanitary/Sanity (3.2)
Jane Liddell-King, Cornflakes (3.2)
Lyn Lifshin, Emily Dickinson (5.2)
Sara Littlecrow-Russell, Indian Tears (2.2); Those Indians Sure Are Crafty (2.2)
Moira McAuliffe, Orpheus (3.1)
Kathleen McConnell. The Inevitable Feminist Treatise on Catwoman (excerpt) (7.2)
Susan McLean. Circe, Scylla, The Siren, Melantho (7.1)
Barbara Minchinton, Housework Beast (2.1)
Louise Moore. Joan of Arc, Circe, Cassandra, The Annunciation Angel (8.1/2)
Katherine Murphy, Not Remembering My Childhood (3.1); To a Friend Afraid of Flying (3.1); For My Daughter, Dreading Dissection (3.1)
Cynthia Feldman Paley, Reflections from Kate’s Daughter (3.1)
Glenis Redmond. Lonely Girl, Train, Scripted Hope (7.1)
Carol Rose, Ex-nihilio (4.2)
Cristian Salazar, A Map of the United States of America (3.1)
Lorraine Schein, Remedios Varo, with Artwork by Zazie (3.2); The Goddess at Bergen-Belsen (4.2)
Emily Self, The Language of Paper Dolls (5.2)
Aseret Sin, Poetrix; Sister Ancestor (6.1)
Dana Sonnenschein. Man Ray's Muse (7.1)
Christina Springer, Dream Hunt (1.1); Juneteenth (1.1); Word Worlds (1.1)
Darko Suvin, The Taboo (1.1); Imagine a Fish (1.1)
Aidan Thompson: Maple Tree (7.2)
Leonard Trawick, Katherine Murphy (3.1)
Barbara Louise Ungar, Circe in Love (1.2)

INTERVIEWS:

Yolanda Hood, Interview with Tananarive Due (6.1)
Gwendolyn D. Pough, Interview with L. A. Banks (6.1)

ART:

Kat Ball, Stink of the Future (2.2)
Marion Epstein, Feminist Speculative Art (6.2)
Jennifer Jones, Untitled (3.1); Untitled (3.1)
America Meredith, Kelly Jean Church, Allison Francisco, Art from the “Three Sisters Show,”
Pat Ortman. Don’t Tread on Me: Painting My Way Through (8.1/2)
Santa Fe, New Mexico, June 1999 (2.2)
Shoshana Tomberg, Domestic Violence (3.1)

MEMORIALS

Tillie Lerner Olsen (1912 - 2007) by Ardys of Berkeley (7.2)
Monica Sjoo by Starhawk (7.1)
Monique Wittig (1935 - 2003) by Gloria Orenstein. (7.2)
Grace Paley (December 11, 1922 - August 22, 2007) by Ardys Delu (8.1/2)

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