Women in Science Fiction and Fantasy Volume 2: Entries Expanding Outward Into Endicott West, by a Contrast in Gender Roles

Women in Science Fiction and Fantasy Volume 2: Entries expanding outward into Endicott West, by a contrast in gender roles. Henri has an interstitial arts center in Tucson, feminine qualities, whereas his love, and The Endicott Studio for the Mythic the web-footed Villanelle, is the only Arts, an online quarterly journal. woman to walk on water, a trait of the Venetian men who are told to be the Further Readings only beholders of this privilege. Such Endicott Studio [online]. http://www. contrasts help the reader redefine gen- endicott-studio.com. der roles. Fantastic images such as the The Wood Murray, Robin. “Terri Windling’s priest’s telescopic left eye catching Wife: A Space for Complementary Sub- glimpses of naked bodies and love jects.” Femspec 3, no. 1 (2001): 22–32. scenes, and Villanelle’s heart acting as “Terri Windling: Border Coyote.” Locus 51, no. 4 (October 2003): 76–78. a separate piece, also blur the bounda- ries of the real and the fantastic. HELEN PILINOVSKY The PowerBook (2000), with its play on time through a sixteenth-century hero- WINTERSON,JEANETTE (1959– ) ine diving into today’s cyberspace, fol- One of the most innovative writers of lows Winterson’s interest in quantum contemporary British literature, Jea- physics, as does the interpretation of nette Winterson uses fantastic ele- time and space she practices in Written ments as means of highlighting her on the Body (1992), Art and Lies (1994), topics: desire, boundaries of gender, Gut Symmetries (1997), and The World love, identity, and time. She often gen- and Other Places (1998). The PowerBook erates the material for the fantastic also questions whether a virtual iden- through a rewriting of fairy tales, folk tity is real enough to force coherence stories, and grand narratives. For upon its holder. instance, not only does she mimic the Through the fantastic image of meta- titles in the Old Testament as chapter morphosis—an Ottoman tulip trans- names in Oranges Are Not the Only Fruit forming into a phallus—masculine and (1987), but she also follows the trend in feminine roles are discussed as the Sexing the Cherry (1989) by reworking image raises the question of whether it “The Twelve Dancing Princesses.” is a specific bodily part that determines In most of her novels, Winterson the power mechanisms. Science and resorts to anachronistic fantasy. Sexing the nature of time, sources of inspira- the Cherry—in which the seventeenth- tion for most of Winterson’s novels, century Puritans coexist with an ecolo- occupy a key position in Weight (2005), gist girl with her ageless gargantuan a retelling of the Atlas myth. Although mother, a grotesque figure, all situated almost all her fiction displays a lengthy in the English Civil War—enables the discussion of time past, present, and reader to re-vision the past with a fresh future, her recent novel Tanglewreck perspective. The Passion (1987), which (2007) places the topic at the center. employs fantastic elements like meta- Further Readings morphosis, is also an example of fan- Grice, Helena, and Tim Woods, eds. “I’m Tell- tasy achieved through rewriting: The ing You Stories”: Jeanette Winterson and the Pol- English victory over the French is itics of Reading. Amsterdam: Rodopi, 1998. viewed not through Napoleon but Jeanette Winterson [online]. Http://www. through a young soldier, Henri, the jeanettewinterson.com. neck-wringer in Napoleon’s army. This Makinen, Merja. The Novels of Jeanette Winter- shift in perspective is complemented son. New York: Palgrave Macmillan, 2005...... 326 Women’s Bookstores

Reynolds, Margaret. Jeanette Winterson. Lon- voices, including Mercedes Lackey and don: Vintage, 2003. Jennifer Roberson. She also published

MINE O€ ZYURT KILIC¸ the first DAW hardcover title, Angel with the Sword (1985) by C. J. Cherryh. Wollheim now runs the company WOLLHEIM,BETSY (1951– ) with publisher and co-owner Sheila Gil- Elizabeth Rosalind Wollheim is the bert. In 2002, they celebrated thirty owner of DAW Books, which publishes years of best-selling science fiction and original works of science fiction and fantasy with two anthologies featur- fantasy. She was born in New York on ing works by DAW authors, including December 5, 1951, to paperback editor Andre Norton, Tanith Lee, Frederik Donald A. Wollheim and his wife, Elsie. Pohl, and C. S. Friedman. The house is Her father edited science fiction for distributed by the international Pen- Ace Books and later for DAW Books, guin Group, but Wollheim and Gilbert which her parents founded in 1971, strive to maintain the atmosphere and and Wollheim grew up in the company high standards of a small, family- of science fiction and fantasy authors. owned publishing house. She enrolled at Beloit University in Further Readings Wisconsin in 1969, but later moved to DAW Books [online]. Http://www.dawbooks. Massachusetts, where she attended com. Clark University and the Worcester Art Wollheim,Betsy.“BetsyWollheim:TheFamily Museum School simultaneously. Woll- Trade.” Locus 56, no. 6 (June 2006): 35–37. heim graduated in 1973 with an English degree and enrolled in graduate school, KAREN HALL intending to study photography. How- ever, she left the program to work as a WOMEN’S BOOKSTORES magazine proofreader and darkroom The role of women’s bookstores in pro- technician. In 1975, she returned to moting and selling science fiction and New York and became an associate edi- fantasy by and about women has primar- tor at DAW. She met musician Peter ily focused on small press and overtly Stampfel that same year; the two were feminist work. This focus has been due married in 1982 and now have two to both the history of the Women’s Liber- sons. ation movement and the general percep- Wollheim became president of DAW tion that science fiction was a male- Books in 1985, when ill health forced dominated genre of literature. her father to step down. Under her Bookstores that specialize in books leadership, the house made several sig- by, for, and about women were an out- nificant changes without compromising growth of the women’s movement of DAW’s commitment to careful editing, the 1970s in North America and excellent writing, and high-quality Europe, and of later eras around the cover art and packaging. She initiated a world. Activists recognized the need for controversial design shift, dropping the publications to spread their messages house’s traditional yellow spines with and to serve as organizing tools. When red and black lettering and moved the many of the existing publishers and DAW Collectors’ Book Number from printers refused to publish or print the cover to the copyright page. their work, the activists created pub- Responding to an increasing demand lishing houses, printing collectives, and for original fantasy, she sought out new newspapers. Bookstores followed soon ...... 327