Phyllis Eisenstein (1946-2020)

Phyllis Eisenstein. Photo by and copyright © Andrew Porter

Nebula and Hugo nominated author Phyllis Eisenstein died December 7 at the age of 74 after a year-long struggle with serious neurological problems. The family obituary, which will appear in the Chicago Tribune, is here.

Eisenstein was born in Chicago in 1946, grew up there, and for awhile attended the University of Chicago. She met her future husband Alex at the weekly gathering of Chicago science fiction fandom. They married in 1966.

Phyllis and Alex Eisenstein at Chicon V (1991). Photo by and copyright © Andrew Porter

Her first published sf story was “The Trouble with the Past”, written in collaboration with Alex, in New Dimensions 1 (1971) edited by Robert Silverberg. An acclaimed writer with six published novels and 50 short stories, she was twice nominated for the Hugo Award, for her novella “In the Western Tradition” (1982, also a Nebula nominee), and the novelette “Nightlife.” Two additional works were Nebula nominees, the short story “Attachment” (1976) and novelette “The Island in the Lake” (2000). Her short story “Subworld” was a Seiun Award nominee (1997). Eisenstein’s novels Born to Exile won a Balrog Award (1980) and Sorcerer’s Son was a British Fantasy Awards finalist (1980).

Her 1978 short story “Lost and Found” was adapted for television by George R.R. Martin and aired in 1986 on The New Twilight Zone.

She also wrote a nonfiction book, Overcoming the Pain of Inflammatory Arthritis, which she said “is about the use of pantothenic acid (vitamin B5) for arthritis, a disease I’ve had all of my adult life.”

After establishing herself as a professional writer, she returned to college and finished her education, earning a 1981 B.A. in anthropology from the University of Illinois.

For fifteen years she was the Managing Copy-editor at Leo Burnett Agency, and worked at the Publicis Agency for several years prior to joining Burnett.

Eisenstein was also a gifted teacher, beginning by assisting Roger Zelazny at the Indiana University Writers Conference in 1977, then teaching sff writing at the Clarion Science Fiction Writers Workshop, Oakton Community College, and the Writers Digest School. Ultimately she taught fiction writing for nearly twenty years at Columbia College Chicago where she received the Excellence in Teaching award.

One recommendation she made to improve a writer’s work even showed up as a Jeopardy! game show answer in 2016 —

  • In A Storm of Swords, he acknowledged “Phyllis, who made me put the dragons in it.”

The correct question was “Who is George R.R. Martin?”

Martin dedicated the third book in his A Song of Ice and Fire series to her for reasons he explained on a panel at Chicon 7 in 2012:

“The dragons were one aspect that I did consider not including. Very early in the process, I was debating, should I do this just as like historical fiction about fake history, and have no actually overt magic or magical elements, but — my friend Phyllis Eisenstein, a wonderful fantasy writer who lives here in Chicago, I happened to be talking to her at very early stage in the process. Phyllis has written some great fantasies herself. She said, “Nah, you have to have dragons. It’s a fantasy, you know!” And I dedicated A Storm of Swords to Phyllis, who made me put the dragons in, and I think that was the right thing to do.”

She was an icon of Chicago sf fandom. At the Chicon 2000 Worldcon, the Fan Lounge was laid out as the reconstructed living room of a Chicago fan of the ‘80s. The space was furnished with an ill-assorted bunch of old couches, lamps and end tables. One couch was occupied by two crash-test dummies, the first dressed as Neil Rest in sandals, jeans and a Windycon 7 t-shirt, and the other as Phyllis Eisenstein, attired completely in black, a “goth” ahead of her time.

Roger Sims and Dave Kyle in Chicon 2000 Fan Lounge. Photo by Laurie Mann, from Fanac.org.

Also at Chicon 2000, and other conventions over the years, Alex and Phyllis Eisenstein shared their astonishing collection of sff artworks. There were over 200 covers from prozines and paperbacks and interior illustrations by Ed Emshwiller, Frank Kelly Freas, Edd Cartier, John Schoenherr, Ed Valigursky, Richard M. Powers, Mel Hunter, Wallace Wood, H. R. van Dongen, and others of note. The display included one of my all-time favorites, Kelly Freas’ 1954 Astounding cover for That Sweet Little Old Lady. Alex and Phyllis labored for 17 hours to put up the exhibit and 5 hours to take it down. The show was covered under a special $1 million insurance policy obtained by Chicon.

In recent years, Eisenstein’s writing career, which began so successfully, endured some unfortunate setbacks. The last volume of her “Book of Elementals” fantasy trilogy was left unpublished when Meisha Merlin Publishing suddenly ceased operations in 2007 and it remains unpublished.

Then, although she completed the first novel in a new science-fantasy series called “The Masks of Power,” she held it back purposely, working to complete the entire trilogy before its publication. At the time of her death, the “Masks of Power” series remained unfinished.

She is survived by her husband Alex. The family obituary closes with these thoughts:

Phyllis was a talented, resourceful, very creative person, with a kind and generous spirit, who will be deeply missed by her family and her friends…and especially by her thousands of devoted readers, who have enjoyed her literate, intelligent, believable stories, which ever have explored a wide range of speculative, futuristic, and fabulous worlds.

Alex and Phyllis Eisenstein. Photo by and copyright © Andrew Porter

Rooms With A View

The Haggard Room.

Chicon 7 will recreate as an exhibit the Haggard-themed room from the home of GoH Jane Frank and her husband, Howard.

The Franks’ admiration for H. Rider Haggard’s King Solomon’s Mines, She and his other lost world stories inspired them to design a room in their house to showcase specifically commissioned art based on Haggard’s work. Decorated in Victorian-era furnishings, the Haggard Room displays thematic art by Michael Whelan, Don Maitz, and Bob Eggleton, Gary Ruddell, Donato Giancola, Ian Miller, Jeffrey Catherine Jones, Richard Bober, and Steve Hickman.

Chicon’s exhibit will be the most opulent room recreation ever presented by a Worldcon, a real peek into how “the other half lives” when you consider what has gone before.

Anticipation, the 2009 Worldcon in Montreal, used large graphic photos to reproduce the apartment of its Fan GoH Taral Wayne, the visuals as intricately detailed as a Taral fanzine cover because of all the collections on display.

Entry to Taral's apartment at Anticipation.

Collections on display in Taral's apartment at 2009 Worldcon.

Previously, Chicon 2000 decorated its Fan Lounge to resemble the living room of a typical Chicago fan in the ‘80s, furnished with an ill-assorted bunch of old couches, lamps and end tables. One couch was occupied by two crash-test dummies dressed as Neil Rest and Phyllis Eisenstein – bearded “Neil” wearing sandals, jeans and a Windycon 7 t-shirt, and “Phyllis,” attired in black, a goth ahead of her time. Poor-fan’s bookcases made of boards and cinder blocks lined the perimeter of the room.

Roger Sims and Dave Kyle with “Neil” and “Phyllis” in the Chicon 2000 Fan Lounge.

These room recreations make innovative use of the exhibit space and have all been fun. I wonder if there been any others than the ones I remember?

Update 07/27/2012: Corrected identification of Chicon 2000 Fan Lounge crash-test dummy to Neil, per comment.

Art of the Fantastic Exhibit
Coming to Allentown

Star Wars by Jim Steranko

An ambitious showcase of contemporary fantastic art will run June 3-9 at the Allentown Art Museum of the Lehigh Valley. Art at the Edge: Art of the Fantastic will feature works by James Gurney, Greg Hildebrandt, Paul Lehr, Jim Steranko and others.

The exhibition’s guest curators, Patrick and Jeannie Wilshire, fantastic art has been around since man has “been able to make meaningful marks on permanent materials.”  They go on to say that, “Ancient artwork is rife with narrative depictions of gods, monsters, shining deeds and things crawling from dark shadows.”

A press release asserts this “will not only be the most comprehensive exhibition of fantastic art to date, it will also be the first time that this discipline has been presented on such a large scale.”

I wonder if they’ll make good on that boast? This will have to be quite an event to surpass Alex and Phyllis Eisenstein’s Classics of Science Fiction Art at Chicago 2000, which presented works by Ed Emshwiller, Frank Kelly Freas, Edd Cartier, John Schoenherr, Ed Valigursky, Richard M. Powers, Mel Hunter, Wallace Wood, H. R. van Dongen, and others.

[Thanks to Andrew Porter for the story.]

More Feedback on Cornell

Steven H Silver organized the 2000 Worldcon as well as other convention programs. Here is his commentary on Paul Cornell’s initiative.

Steven H Silver: I’m aware of Paul’s idea and certainly have some opinions about it.  Not sure I can crunch complete numbers to give you anything specific, although I quickly ran the first few hours of Chicon 2000 Programming (because I have them on-line and the Windycon programs I’ve done aren’t as accessible) and came up with the following:

Of the first 35 Panels…

Men outnumbered women on panels by more than 2 on 8 panels
Women outnumbered men on panels by more than 2 on 6 panels
Perfect parity on 3 panels
Men outnumbered women by 1 on 6 panels
Women outnumbered men by 1 on 5 panels
The remaining items only had one person on them

My approach is to look at the people I have available as panelists, understand their strengths and weaknesses and assign them to panels where I think they have something to add to the topic and will be interesting.  I try to avoid using people to simply fill quotas since people’s skills and knowledge sets are not interchangeable.

I have real issues with people tampering with my programs because they (probably) don’t understand the personalities involved, the concepts behind the panels, and the reasoning given for including the people who are included.

Some panels, by their nature, are going to be heavily slanted towards male or female panelists. Others will be slanted because the panelist pool for the convention is limiting.  I’d love, for instance, to have a panel on women writers in the comic industry, but first I need a convention which provides me with enough women who write comics who will be in attendance.

Paul’s approach would certainly make me less likely to use someone who feels that they have the right to create a scene and mess with programming.  The proper approach would be to contact programming with concerns when the program is set up and open up a dialogue to, perhaps, understand why certain decisions were made, rather than issuing ultimatums.

I spend a lot of hours each time I create a programming schedule to try to get a good balance of people, by gender or interest or experience, depending on what any given panel topic is.  For a panelist to unilaterally change a panel indicates that the panelist doesn’t understand what goes on behind the scenes and seems to think that all panelists are created equally, which, if it were the case, would mean that we could simply toss names into a hat and pull them out at random to determine who should be on a panel.

If Paul were to attend a convention where I was running programming, I would most likely treat his request the same way I would treat a panelist’s request not be be put on a panel with Person A or schedule them for a panel before Noon.  It would be something to strive for, but I wouldn’t do it to the detriment of a panel.  If I had a great panel idea and Paul was a potential panelist and the other four panelists who fit the theme were also men, my choice would be to put together a panel of four without Paul or of all five and worry about Paul becoming a panelist vigilante.  In that case, I’d choose the four-person panel.  Paul wouldn’t have achieved parity for that particular panel and the attendees may find themselves with a slightly weaker panel in the process.