The author worked closely with the group of sci-fi enthusiasts called Československý fandom. Her first work was a collection of sci-fi short stories called Hostina mutagenů (A Feast of Mutagens, Svoboda, 1992), which she followed up with the sci-fi novel Cvokyně (The Madwomen, Ivo Železný, 1992). The main character, Nora, demoralized by Normalization at the end of the 1980s and by marital disagreements, is able to go back eight years in time thanks to a new scientific machine. Here we can already see two of Eva Hauserová’s main sources of inspiration – feminism and science fiction. The short stories Když se sudičky spletou (When the Fates Make a Mistake, Maťa, 2000) draw from both of these themes. She then returned to sci-fi in 2006 with the short stories U nás v Agonii (Chez nous in Agony, Triton, 2006).
In addition to this she also writes lighter novels – Zrání Madly v sedmi krocích aneb Přitažlivost západních mužů (Madla’s Progress in Seven Steps or The Attractiveness of Western Men, ROD Brno, 2000), Rybí hry (Fish Games, Nakladatelství Andrej Šťastný, 2010) and a horror from the world of ecological activists, Blues zmražené kočky (Frozen Cat Blues, Šťastný, 2005), where another of Hauserová’s main themes surfaces – ecology. Her last book to date is the novel Noc v mejdlovarně (A Night at Party Central, Argo, 2014), in which three women who lived through the years of communist Normalization admit the truth about what and who they feel guilty about.
Eva Hauserová has also written several feminist books (Na koštěti se dá i lítat, Jsi přece ženská, Příručka militantního feminismu, [Broomsticks Can Also Be Used for Flying, But Aren’t You a Woman? A Handbook of Militant Feminism), and edited several others. She is interested in permaculture, she edited the collection Letem světem permakultury (A Flight Around the World of Permaculture) and she is editor of the magazine Klíčová dírka (Keyhole).
She has translated dozens of women’s novels and Harlequins (Mills and Boon) from English, as well as the Vagina Monologues by Eve Ensler.