Note: My previous T-shirt posts have tended long, so I’ve been aiming to post just once a week, on Mondays. Not all my Ts are part of a long(ish) story, however — or, like this one, they’re the precursors of a story that will be elaborated on later. So, starting now, I’m going to occasionally post shorter tales mid-week, on Fridays. We’ll see how it goes!
Considering what an important role women’s fantasy & science fiction (f/sf) came to play in my life, I’m a little surprised that I can’t pinpoint what got me started in earnest. It almost certainly happened in the late 1970s, after I moved back to D.C., immersed myself in the grassroots women’s community, and came out as a lesbian.
On the other hand, only a handful of my new communitarians were avid f/sf readers. Most of the rest considered it a guy thing. They had good reason. Much later I heard the once-witty (maybe) cliché that “the Golden Age of science fiction is 14.” It didn’t have to be said that it was also male.
I’d been an avid reader from an early age, but I leaned toward nonfiction. My fiction reading through high school was mostly mysteries and political thrillers: Allen Drury’s Advise and Consent and A Shade of Difference; Fletcher Knebel’s Seven Days in May, Night of Camp David, and The ZinZin Road; and anything about nuclear apocalypse, such as Pat Frank’s Alas, Babylon and Nevil Shute’s On the Beach.
Yes, indeed: it’s not hard to see how the latter two titles might be considered f/sf, or at least proto. As a schoolkid I was very, very big into superhero comic books: Superman, Batman, the Flash, the Justice League of America. I did like Wonder Woman, though her costumes were embarrassing: did any of the male superheroes run around in such scanty clothing? In college I got lost in The Hobbit and the Lord of the Rings trilogy. I read Frank Herbert’s Dune and was especially impressed by his use of Arabic and derived-from-Arabic names.
But f/sf didn’t become a passion till, in the late ’70s, I realized that much of the best new women’s writing around was fantasy and/or science fiction. I don’t even remember where I started, maybe Ursula K. Le Guin’s Left Hand of Darkness (1969) or Joanna Russ’s Female Man (1975)?
I found Suzy McKee Charnas’s Motherlines (1978) at Moonstone Bookcellars, the one on Pennsylvania Ave. NW near Washington Circle (and George Washington University — there was another one in far Northwest, Friendship Heights or somewhere, but I don’t think I ever went to that one), and almost certainly read it before its predecessor, Walk to the End of the World (1974). Wow! A world of all women — and horses too!
Joan Nestle, of the Lesbian Herstory Archives, was a huge science fiction fan, and the LHA already had an impressive collection of feminist f/sf zines and books. She pointed me in promising directions toward treasures like Amanda Bankier’s zine The Witch and the Chameleon (1974–76), and the furious controversy that had followed the publication of Marion Zimmer Bradley’s Darkover Landfall in 1972. From her I learned that MZB had written several lesbian pulp novels under various pseudonyms and that she had played a key role in collecting the bibliographical information that went into Barbara Grier’s path-breaking bibliography The Lesbian in Literature.
Moonstone, whence this T-shirt comes, was a compact shop below sidewalk level, crammed with floor-to-ceiling shelves of fantasy and science fiction, nearly all of which came in mass-market paperback. Anything with a woman’s name on the spine I’d take off the shelf, peruse, and often buy.
Moonstone did not carry Sally Gearhart’s pioneering The Wanderground: Stories of the Hill Women (Persephone Press, 1978), which quickly became a lesbian and feminist classic. The primary problem was the format, not the content. Like virtually all feminist-press books it was published in trade paperback — and trade paperbacks didn’t fit on mass-market shelves.
Using the name of the D.C. Hags, which had brought Mary Daly to D.C. in March 1979, I took the lead in producing a reading and talk by Sally in November of that year. My interview with her appeared in the January 1980 off our backs.
I’ll have plenty to say about women’s f/sf later (will I ever!), but I’m pretty sure my obsession started here, in the late 1970s, and that the Moonstone Bookcellar near Washington Circle did plenty to encourage it.
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It wasn’t till I started seeing things as a woman that I realized how much was missing from history.
As a kid I felt included in the history I learned in school. I grew up WASP in the Boston area. The place-names in the history books were names I knew and places I’d been: Boston! Concord! Lexington! Old North Church! My fifth-grade class made a field trip to Old Sturbridge Village, which I thought was very cool, and not just because we got to put the teacher in the pillory.
Also in fifth grade I adapted for the stage a young readers’ biography, Patrick Henry: Firebrand of the Revolution. Patrick Henry may not have been a relative (but who knows?), but the author, Nardi Reeder Campion, definitely was connected close-up on my paternal grandmother’s side. My class produced the play and I got to play the lead. My only distinct memory of the production is that Thomas Jefferson was about twice as tall as I was.
History, especially family history, was important to both my grandmothers, both of whom lived in the Boston area — we could, and often did, walk a mile through the woods to my paternal grandmother’s house — so they were very much part of my life. Both were members of the DAR. Grandma, my father’s mother, was also a Mayflower Descendant. Gran’mummie, my mother’s mother, was a born and bred Virginian — if Patrick Henry was a relative, it would have been through her — who also belonged to the Colonial Dames and (I think) to the United Daughters of the Confederacy.
For Gran’mummie, I’m pretty sure this was largely a matter of family and regional heritage — not a celebration of the Lost Cause. She lived in Brookline, Massachusetts, for the last 50 years or so of her very long life. (Born in 1892, she died in 1997, a week shy of her 105th birthday.) Only within the last 15 years or so have I become fully aware of what those Confederate statues meant, both to the United Daughters who erected many of them and to the Black people who have had to live with them day in, day out.
Still, above the mantel in Gran’mummie’s dining room was the Confederate battle flag. When I visited her as an adult, I was always surprised by how small it was: the longer I was away, the larger it loomed in my imagination, till it dominated the entire wall. Beside her writing desk in the same room was an imposing recruiting poster from World War I. It depicted an avuncular Robert E. Lee, gray-haired, gray-bearded, and gray-uniformed. I FOUGHT FOR VIRGINIA, it said. NOW IT’S YOUR TURN.
To this day it encapsulates for me what “states’ rights” is essentially about.
Gran’mummie’s middle name before she married was Washington; she was descended from Custises and Lees.
The Yankee heritage on my father’s side was less problematic. My Grandma’s original name was Rosamond Thomas Bennett. When she married, and eventually divorced and remarried, she dropped the Bennett and kept the Thomas. That was for Isaiah Thomas (1749–1831), from whom she was descended: printer, Revolutionary, and (I like this part) founder of the American Antiquarian Society.
The Bennett wasn’t entirely lost, however. One of my brothers was baptised Roger Bennett Sturgis, after Grandma’s brother the Rev. Roger Williams Bennett, and yeah, he was named for that Roger Williams. I don’t know how the line of descent works out, but if I can’t be descended from Anne Hutchinson, Roger Williams will definitely do. Hutchinson, by the way, had a daughter named Susanna, one of the few survivors of the attack in which her mother and much of her family was killed.
Growing up, I assumed I was part of U.S. history. It was a jolt to realize I wasn’t, or at least not to the extent I’d assumed I was. In the antiwar movement I met veterans of the civil rights movement and survivors of the McCarthy witch hunts. These were nowhere represented in my family tree. Ditto what I learned from union members and labor organizers there and in subsequent years. In fact, men close to if not actually part of my family tree were often clearly on the wrong side: in Charlie King’s great song “Two Good Arms,” about Sacco and Vanzetti, the villain of the piece, Judge Webster Thayer, could well have been a third or fourth cousin a few times removed.
At Penn, where I arrived as a transfer student in the fall of 1972, I took one of the first-ever women’s history courses, offered by women’s studies pioneer Carroll Smith-Rosenberg. But it wasn’t till I got to D.C. a few years later that I became seriously immersed. Those who ridiculed the whole idea of women’s liberation loved to ask where the great female thinkers, scientists, historians, etc., etc., etc., were. One famous poster posed the question “Where is your Shakespeare?” and answered it: “She was a woman, and you burned her books.”
This turned out to be not far from the truth, except that burning, either of books or of women, was not necessary to obliterate women’s achievements and contributions. They weren’t being recorded in the first place, because they weren’t considered important and/or women weren’t doing the recording. When they were recorded, they were trivialized, pushed to the margins, and/or forgotten. What women often were doing was making the achievements of their fathers, brothers, husbands, and sons possible. Judy Brady Syfers’s essay “I Want a Wife,” published in 1971, circulated widely for years, even though most women I know got the point as soon as they read the title.
Feminism had been very much in the air I breathed as a Georgetown University undergrad, from 1969 to 1972. I was introduced to Betty Friedan’s Feminine Mystique (published in 1963 and already a classic), which gave me much-needed insight into my mother’s life; Kate Millett’s Sexual Politics; Germaine Greer’s Female Eunuch; Ingrid Bengis’s Combat in the Erogenous Zone; and Robin Morgan’s anthology Sisterhood Is Powerful, nearly all of which was new to me. I was the lead writer on an op-ed that appeared in The Hoya, the student newspaper, over the byline “Georgetown Women’s Liberation.” I later reviewed the premier issue of Ms. (January 1972) for the same paper.
After moving back to D.C. in 1977, I learned how much I had missed the first time around.
A major catalyst was Judith Schwarz’s courses in lesbian history, offered through the Washington Area Women’s Center. Judith had an MA in women’s studies from San Jose State and had taught a similar course there. Her focus was on the lives and achievements of women whose primary commitment was to other women.
Lesbian Heritage/D.C., devoted to uncovering and preserving D.C.’s lesbian history, grew out of those courses (which IIRC included lesbian literature as well as history). As a result, I learned that, totally unbeknownst to me as a Georgetown U. undergrad, a whole other feminist world had been thriving elsewhere in the city. The feminist newsjournal off our backs got started in early 1970, but I didn’t see my first issue till I moved back to town in 1977. (Oob, as it was usually called, played an important role in my life, and yes, I have a T-shirt to prove it. Coming up soon!)
I had never heard of the lesbian-feminist Furies collective either. Though it lasted only a couple of years, the Furies cast a very long shadow into the future, both for the lesbian feminist theory and culture articulated in its newspaper and for the future accomplishments of its members. Rita Mae Brown is likely the best known to the general public: Her Rubyfruit Jungle (Daughters, 1973; Bantam, 1977) may have been the first mainstream-published novel whose lesbian protagonist didn’t either go straight or die. She’s since become known for some high-profile relationships and many best-selling mystery novels.
For those of us involved in the emerging women’s culture of the 1970s and ’80s, several other former Furies were household names: Coletta Reid, a co-founder of off our backs who went on to establish Diana Press; activist and academic Charlotte Bunch, who started Quest: A Feminist Quarterly; Helaine Harris, co-founder of Women in Distribution (WIND); photographer and author JEB (Joan E. Biren); and Ginny Z Berson, co-founder of Olivia Records, which had its roots in D.C. but relocated to the West Coast in March 1975.
Once a Fury, a documentary about the Furies collective based on interviews with several collective members, was released in the fall of 2020. So was Ginny Berson’s Olivia on the Record, about Olivia Records and the women’s music scene of the 1970s; chapter 2 is a lively account of how the Furies evolved and eventually went their separate ways.
Naturally, drafting this post sent me into the past looking for dates to hang my fuzzy chronology on. The Lesbian Herstory Archives newsletter #6 (June 1980) reprints Judith Schwarz’s introductory letter to the Archives women, dated October 27, 1977. It includes this passage:
“Finally, I am about to start teaching a lesbian history seminar at the Washington Area Women’s Center, which is based on a similar class I taught last spring in San Jose, California. The response has been nothing less than tremendous, and it seems many of us are tired of getting our history from second-hand sources or biographies about famous writers. I am very pleased to see this massive interest and one of the things that I hope will come out of this seminar will be an interest in a regional lesbian archive here in Washington, perhaps affiliated with the Women’s Center.”
So there you are: that’s what happened. Judith soon became part of the Lesbian Herstory Archives collective, and we made at least a couple of field trips to New York City to visit the Archives, then located in the Upper West Side apartment of its co-founders, Joan Nestle and Deb Edel. I count it among the sacred spaces I’ve been able to visit in my life. Browsing the bookshelves, handling the periodicals, looking at the photos, I could hear the voices of the women who created these artifacts. From time to time I could almost hear the voices of the silenced, “the voices we have lost,” to whose memory the Archives is dedicated.
The Archives women made a trip to D.C. in the spring of 1978 and gave their slide presentation at Women’s Nite Out, at the Washington Area Women’s Center. How do I know this? Is my memory that good? No, it’s not. But my story about the event from the WAWC newsletter, In Our Own Write, for June 1978 is reprinted in the LHA newsletter #5 (Spring 1979). Here’s a paragraph from it:
“While watching the immense variety of lesbian works illustrated by the slides, I was especially struck by the ephemeral nature of our publications and organizations. This and their frequently local orientation make it too easy for them to be lost forever. Patriarchal institutions have suppressed and denied the culture of all women in the past. Now it is essential that we do not by our carelessness cooperate in their efforts. When the womenenergy that sustains a newsletter or a collective dissipates, the recorded evidence of their work must be preserved. The Archives are the instrument by which this can be done.”
I was 27 years old at the time, but I couldn’t have said it better today.
 Or so I thought, until my writers’ group members told me that they didn’t recognize the name.
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