also contained strong political statements that influenced the formation of the gay rights movements of the late 1950s. Originally titled Anne Loves Beth, Odd Girl was extensively blue-penciled by the pulp editors. The original version has recently been reissued by the author through 'the savant garde workshop', a service press for The Savant Garde Institute, which also continues to publish her many collected papers, plays, novels, and poetry. Her most important artistic work, Testament of Sarah (Book I of The SKEETS Triptych. 1967), was originally to be published by Doubleday & Co. Under classic pulp fiction, Artemis Smith wrote: The Third Sex, 1959 Beacon Books; Odd Girl, 1959 Beacon Books; This Bed We Made, 1961 Monarch Books. Pro-lesbian pulp fiction Literary scholar Yvonne Keller recognizes a small group of writers whose work formed the subgenre of "pro-lesbian" pulp fiction, including Bannon, Meaker, Smith, Taylor, as well as Sloane Britain, Paula Christian, Joan Ellis, March Hastings, Marjorie Lee, Della Martin, Rea Michaels, Claire Morgan, Randy Salem, and Shirley Verel. According to Keller the subgenre includes approximately 100 novels whose authors, often lesbians themselves, refused to acknowledge the conventional voyeurism of the rest of the genre. Cover art Lesbian pulp novels typically had lurid, titillating cover art. Although many women (lesbian and otherwise) bought and read these novels, book publishers marketed them to men as erotic fantasy. Covers might have a few provocative lines of text meant to draw attention to the sexy and scandalous nature of what was between the covers. Publishers inserted words such as "twilight", "odd", "strange", "shadows", and "queer" in the titles of these books. Author Ann Bannon has stated that men would read the covers literally, attracted to the art of half-dressed women in a bedroom scene, and women would read the covers iconically: two women looking at each other, or one woman standing, another on a bed, with the trigger words of "strange" or "twilight" meaning that the book had lesbian content in it. Bannon was appalled by the covers that Fawcett provided for her Beebo Brinker Chronicles. Melissa Sky argues that there was a definitive type for these covers that often displayed illustrations that did not correspond to the material inside. Additionally, the covers of lesbian pulp novels often presented lesbian relationships as dangerous and questioned whether lesbians could really be seen as women, exposing deeper anxieties about the stability of the gender and sexual