Francis
Stevens has the distinction of being one of the first well known women to
publish in the genres of horror, fantasy and science fiction. She wrote at a time—very early 20th
century—when the struggle for equal rights had barely begun and women were yet
to obtain voting rights. A contemporary
of H.P. Lovecraft and other authors of pulp fiction, she wrote to help support
her family, who depended on her income from publication. She was a single parent who looked after her
invalid mother and young daughter.
In my
view, she is a superior writer compared to the work of her peers at the time,
and deserves to be better known. Her
characterization, subtle attention to detail, and use of dialogue reveal compassion
for her characters and a deep understanding of the human condition and human
relationships. What is also striking,
given the prevailing attitudes of her day, is her nuanced and respectful
perception of racial and ethnic minorities.
The Elf Trap displays all of these attributes
of Stevens’ writing. The story appeared
in Argosy in July of 1919. The piece is a complex, story-within-a-story
that also involves shifts in reality and perception on the part of its
principle narrator. It bears re-reading
to appreciate the author’s subtlety. Stevens
deftly combines elements of a ghost story, fairy tale, romance, horror and even
popular psychology to depict an old man’s profoundly shifting perceptions about
life.
Theron
Tademus is a renowned microbiologist whose principle enthusiasm is the minute
study of tiny species of infusoria. He
is the type of person whose intense focus prevents him from seeing the forest
for the trees. He is encouraged by
friends and his doctor to rest and recoup in a mountain cabin not far from
Asheville, North Carolina. But the
scientist mysteriously vanishes for a week while in the mountains, and then
just as abruptly reappears. He seems
unable to recall the details of what occurred during the week he was
missing. He resumes teaching his classes
at the university, but then suddenly dies as he is about to begin lecturing a
class.
His
young assistant has Theron Tademus’ red book, which may contain an explanation
of the professor’s fate. The rest of the
story is told in a series of journal entries that the late scientist wrote
while on his vacation. Stevens carefully
sketches the geography of the setting, which includes an artist community named
“Carcassonne” and a camp of ragtag gypsies, not far from the cabin where the
professor is staying. After he meets a
mysterious woman, his values and perceptions begin to shift, and the boundaries
between the two small mountain communities become inextricably mixed with his
own life.
Tademus
becomes disoriented one night and mistakes one road for another, arriving at a
version of one of the communities—but which one? His expectations and preconceptions are
challenged and changed; he soon identifies with his welcoming hosts, so much so
that he comes to despise his own kind.
But it is clear, from the rules of this fantasized encampment, that any
escape will be temporary.
It is
also clear at the end of the story that the professor’s young assistant, who
has carefully studied the red book and who was with the professor the moment he
died, may also be drawn to the same
location and experience the same fate.
In view is the notion that there are other, perhaps better realities,
just beyond social and cultural boundaries, as well as opportunities to
experience them.
Francis
Stevens is an important early author of horror, science fiction and fantasy
tales. Her work has been discussed here
in several earlier posts, to which the interested reader is referred below:
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