In my introduction to the anthology, I suggest that origins of female erasure in Western culture was propagated by the framing myth of Adam and Eve, and continues to affect a majority of people on our planet, regardless of whether an individual practices a religion based on this mythology.

​

The cover image is intentionally complex and multi-layered in its meanings. This classical image of Eve in the Garden of Eden is consistent with her portrayals in Renaissance art as a white European female. Our understanding of genetics today confirming human origins evolving out of Africa, the original “Eve” would surely have been a dark skinned female. Clearly the image does not represent all women in our glorious diversity of color and size. There is a double meaning intended in the cover image as the “white” Eve in the Renaissance portrayal has already been erased of her African origins, and continues to disappear even as she reaches for the fruit from the Tree of Knowledge.

​

In the Genesis 2 myth, a male God gives Adam, the first man, the power to name all the creatures of the earth, including Eve, the first woman. Adam is given the power by God to name her, and thus given power over the female sex, and given the power to define the very nature of woman. The male's empowerment by God to name the female is intentional and significant. The woman does notname, and thus define, herself. Her nature is literally man-made. The power of naming is a magical act with cultural significance. The power to name ourselves has been historically usurped from women, and over time we have forgotten that we ever had this power to begin with. Female erasure continues to be propagated through gender identity politics today and continuing efforts to define and enforce oppressive gender constructs on the female sex.



The cover for this anthology was created as a gift from my oldest and dearest friend, renowned photographic artist Claudia Kunin.

​

- Ruth Barrett, editor