Tanith Lee: Why Was One of Horror’s Best Female Writers Blacklisted? A Women In Horror Month Tribute (Part 1)

This is what I remember about reading Tanith Lee:

Dark, haunting prose that made me feel like I was reading it with the lights out; potent and pregnant narrative that was so Gothic and eerie that I thought of Poe; characters that to this day remain vibrant in my head…

I remember devouring paperbacks written by Lee – full of envy of her mastery and use of language, somehow more accessible and less lofty than that of writers like Anne Rice, but the kind of prose that lingers long after it is read. And I remember being stupid enough to give those books away. It was a product of the times, that way of thinking – trusting that decades could scroll by and one would always be able to find another paperback copy somewhere. I was wrong.

Years later, when I wanted to re-read and compare her vampire trilogy The Blood Opera Sequence to Anne Rice’s Vampire Chronicles, I went looking to repurchase those books. Imagine my surprise and disappointment when I could not find them. I could not find anything by Tanith Lee anywhere. I looked in vain for decades…She was neither in used bookstores, new book bookstores, nor Amazon at the time.

It struck me as odd: Lee was a Horror standard for a while, part of that now extinct Horror Section. In fact, that was how I found her. And while I don’t remember any reason ever being given as to why she seemed to have simply evaporated, her books missing from bookstores, what I found out much later surprised – and disappointed – me. It caused me to look with wrinkled brow at our Establishment – the same way it did when we “mysteriously” lost Clive Barker.

Because now she HAS died; we quietly lost Tanith Lee with little more than a peep from the Horror genre. Only the Science Fiction and Fantasy genres claimed her body of work:

“’Lee died peacefully in her sleep May 24, 2015 after a long illness,’ according to Locus Magazine…More details have not emerged; in 2010, Lee revealed she had been treated for breast cancer on at least two occasions.” https://www.npr.org/sections/thetwo-way/2015/05/26/409726390/prolific-fantasy-and-science-fiction-writer-tanith-lee-has-died

What happened to Tanith Lee?


Something Rotten: When the Establishment Goes Too Far

It appears to be about sex. And that is weird, because isn’t all Horror in some way about sex?

This time however, it was even about the Literary stuff: about the underpinnings of feminism and gender issues – about gender identity and sexual orientation. Tanith Lee, you see, never shied away from LGBT characters, storylines, or situations. What exactly was it about Tanith Lee or her writing that “someone” saw to it she was blacklisted? And worse, that she was never even told WHY she was being blackballed? Was she Anne Rice before Anne Rice was cool? Was she ahead of her time – at least for the Horror Establishment?

No, I wouldn’t be at all surprised if you have never heard of Tanith Lee. Even those of us who loved her work have consistently found it hard to find her work – especially in the United States, and especially after the Technology Extermination Plan of all things print. We have as a genre, in fact, lost a lot of accessibility to older titles because of Technology…Lee included.

But Tanith Lee was also increasingly hard to find because of what appears to be nothing less than bullying – the professional kind, by the very people who should be immune from nasty, personally motivated censorship – all because of her alleged queer writing as it was claimed she claimed in later work was channeled through a dead gay man. Indeed, there are such quotes, but they are (in her defense) not waved about in crazy fashion, but delivered with the matter-of-face sincerity of personal belief.

Yes, okay. I get it. Most folks are just not into the whole New Agey spirit channeling thing left over from the 1970’s. But let’s be honest: true or not, believed or not, the woman wrote awesome fiction – relevant fiction; and everyone has their right to their own beliefs. With some of the first featured gay, lesbian, transgender and bisexual characters in Horror and thereby “popular mainstream” fiction, what Lee did was make an important contribution to contemporary fiction – including our genre.

While some may argue (as though to distance themselves from an awkward author scenario or politically delicate LGBT fictional subjects) that if this was part of the emergence and journey of Queer fiction (and thereby more “Other” than Horror), doesn’t that make it all the more important to the Horror genre?

Sure, it becomes yet another subgenre. But isn’t it also an important one? Doesn’t it Literarily speak to our times? Doesn’t it educate its readers?

Why, really, was Tanith Lee ostracized? This, after having written almost 300 short stories and over 90 novels… and in multiple genres including Fantasy, Horror, Science Fiction, Historical Fiction, Young Adult Fiction, Poetry, and Mysteries, often credited with breaking the glass ceiling in genre, and being the first female writer to win the British Fantasy Award.

Why, indeed? Does Horror have some sudden, new and exclusive sacred criteria? Are some subjects, some human conditions suddenly taboo?

And is there a reason Lee and all of her work seems banished from Horror (at least while she was alive and it mattered, ye Best Of people…) whereas openly gay Clive Barker is welcomed back whenever we can get him? Why is Lee treated differently? Hasn’t she paid her dues? Earned her laurels? Does she go too far because her characters are clearly wrestling with gender issues and identity? Or because she claims she sees dead people…and takes notes?

Says Lee of her exile in an interview five years before her death: “Recently, alas, with today’s climate, I have apparently been outlawed by those large “major” companies through whom, for over thirty years, I’ve previously had quantities of work. I don’t entirely understand that, either. But naturally I hope that things will improve, and that all the very good young and new writers I have glimpsed around me will prosper, female and male together. (Gidney)


Photo by Beth Gwinn https://www.locusmag.com/1998/Issues/04/Lee.html


Women in Horror: On Living Down to Stereotypes

Yet again a female writer has drawn the ire and fire of influential powers and publishing houses… all because someone in power saw the need to exact punishment for freedom of artistic thought and speech.

In fact in the 1990’s, Lee so struggled to find publication and her readers toiled to find her works in kind, that many of her fans often wrote to enquire if she had died. Between the damage that Technology had imposed upon the Publishing industry and some self-righteous censorship, we almost lost her works entirely.

Why is this? Could it be that because her work was so sexually infused that “someone” decided she needed to be reined in lest she burst the sexual bubble so many of us have been forced and coerced into living in?

Is Horror so the personal property of a certain type of white male writer that only certain types of infractions are to be tolerated – the ones that titillate the ruling class? Not the ones the rest of us struggle with, or struggle to understand?

Already we see a trend toward censorship within the genre – the long list of plot themes or damaged characters we are told “not to bother” to write. We are told stories about surviving sexual assault or child abuse are not welcome – at least if they are “troubling” tales instead of Harry Potter-magic-overcomes-all types of tales. For some reason, all of a sudden it is not a preferred thing for Horror to represent the honest truth – something that should have many a late nineteenth century female Gothic writer spinning in her grave.

Is this part of something bigger? Is this about uneven censorship against rebellious – dangerous – women? Women who confront and sometimes live in politically precarious waters? Is that why we insist on clarifying that Lee is “normal”… feeding readers details that explain that she is “married and heterosexual” ? (https://www.advocate.com/obituaries/2015/05/26/remembering-tanith-lee-celebrated-author-queer-science-fiction



On the contrary, describing human monsters and exquisite details of sexual violence on women as part of a plotline is somehow ok. A woman’s death and dismemberment the Establishment will allow, but harping on the PTSD that comes from survival is just too much of a downer. Boring. Unworthy. And God forbid if we tackle gender identity along with it.

What the hell kind of message is that? And should we be surprised then that we have that same heavy hand of censorship plucking works out of our canon that contain certain unsavory details we don’t want to “have to explain” to our youth?

I don’t want to have to explain The Holocaust, either. But some things are righteously necessary.

How is it that the one single largest social challenge of the day – that of gender identity and sexual orientation is so freaking scary that we cannot abide its literature?

And are we really so shallow as to feign that fear and abhorrence forced us to draw insinuation that channeling a dead guy for a novel is just frankly too “crazy” a notion, and gender-muddy characters too horrifying to keep publishing Lee?

What was so scary? That the dead guy was dead, or that he was a gay dead guy? Anybody got an attic?


Lee’s worthy Vampire Trilogy…

At what point do we grow up and start acting like reasonable adults so all of us and our children can simply breathe? At what point do we stop running ahead of the coach in an attempt to prevent an imagined accident?

I most certainly “get” it…I repeat, I grew up in the sixties and seventies. And no one wants life to be complicated for our youth, and our brains are all weary thinking about this stuff. But it is we who are complicating it. What was it my generation harped on so long and so loud? Live and let live?

And what about that whole Literary argument? The Big Goal of Horror? Tanith Lee was always there, right in the mix of all things Feminist Theory:

‘I was very interested by the eastern idea of death as a woman, which I used in the ‘Flat Earth’ books. In the type of eastern literature where death was personified as a woman; women were considered dangerous and untamed and pariah material, and that was why death was in female form. Conversely, in the western literature where I came across death personified as a male, it was because men were seen as powerful, and death was seen as powerful, so he had to be male. So it’s two ways of looking at death, as well as two ways of looking at gender.” http://www.locusmag.com/1998/Issues/04/Lee.html

Since when is a competent writer’s taking on a contemporary and contentious subject like feminist or LGBT issues by writing believable characters seated in that controversy NOT ok? NOT Literary?

It may not make us comfortable. But maybe we don’t deserve to be.


Still Mistress of Her Domain

If I had to point to the one influential female writer of Horror in the 1980s other than Anne Rice, it would be Tanith Lee.

Renowned for her use of poetic prose and imagery, she is also known for writing the previously referred to other vampire series…The Blood Opera Sequence, a trilogy of books titled Dark Dance (1992), Personal Darkness (1993), and Darkness, I (1994) and a Horror standard, The Secret Books of Paradys, which included The Book of the Damned (1988),The Book of the Beast (1988),The Book of the Dead (1991), and The Book of the Mad (1993).

Let me say it again. Over 300 short stories and 90 novels. And awards…my God the awards:

Nebula Awards

  • 1975: The Birthgrave (nominated, best novel)
  • 1980: Red As Blood (nominated, best short story)

World Fantasy Awards[31]

  • 1979: Night’s Master (nominated, best novel)
  • 1983: “The Gorgon” (winner, best short story)
  • 1984: “Elle Est Trois, (La Mort)” (winner, best short story)
  • 1984: “Nunc Dimittis” (nominated, best novella)
  • 1984: Red As Blood, or, Tales From The Sisters Grimmer (nominated, best anthology/collection)
  • 1985: Night Visions 1 (nominated, best anthology/collection)
  • 1987: Dreams Of Dark And Light (nominated, best anthology/collection)
  • 1988: Night’s Sorceries (nominated, best anthology/collection)
  • 1999: “Scarlet And Gold” (nominated, best novella)
  • 2006: “Uous” (nominated, best novella)
  • 2013: Life Achievement Award[32]

World Horror Convention

  • 2009: Grand Master Award [33]

British Fantasy Awards

  • 1979: Quest For The White Witch (nominated, best novel)
  • 1980: Death’s Master (winner, best novel)[34]
  • 1980: “Red As Blood” (nominated, best short story)
  • 1981: Kill The Dead (nominated, best novel)
  • 1999: “Jedella Ghost” (nominated, best short story)
  • 2000: “Where Does The Town Go At Night?” (nominated, best short story)

Lambda Awards

  • 2010: Disturbed by Her Song (nominated, best LGBT speculative fiction)


She didn’t deserve to be sent into the darkness. And we, her fans, need to insure she is not kept imprisoned there.

Reports Laura Flood in an article on Lee, “Lee has written tons of books; these are some of her earliest, and rather hard to get hold of. It’s a shame, as are her comments to Locus that “if anyone ever wonders why there’s nothing coming from me, it’s not my fault. I’m doing the work. No, I haven’t deteriorated or gone insane. Suddenly, I just can’t get anything into print”. And on her own website she says:”As for new novels, earlier plans are becalmed. When I know I’ll let you know. Otherwise, no ‘large’ house at the moment has taken any interest in any of my work. Macmillan and Hodder both refused/dropped offered proposals. Tor passed on reprinting Red as Blood. Others I have approached don’t reply at all.” https://www.theguardian.com/books/booksblog/2010/aug/27/fantasy-death-master-tanith-lee

On what planet is this ok? And how do we move forward respecting our own Establishment – editors, publishers, Critics all – if this type of blackballing is acceptable practice when a woman “gets out of line” in our genre? Or even the Clive Barkers among us?

Why hasn’t anyone in “authority” bothered to address this, and all of the mysterious exits of writers who clearly chose to “shake the dust from their feet” and give up on Horror?

”Suddenly, I just can’t get anything into print. And apparently I’m not alone in this. There are people of very high standing, authors who are having problems. So I have been told. In my own case, the more disturbing element is the editor-in-chief who said to me, ‘I think this book is terrific. It ought to be in print. I can’t publish it – I’ve been told I mustn’t.’ The indication is that I’m not writing what people want to read, but I never did.” http://www.locusmag.com/1998/Issues/04/Lee.html

“TOLD I MUSTN’T”!?! By what Power? By which Horror God? I want names.

Because when a writer’s entire catalog is suppressed, when you cannot find her work and you don’t even know if she is alive because NO ONE is publishing her…How can anyone possibly say with truth that she is writing what people don’t want to read?

I wanted to read her. I wanted to repurchase books I stupidly got rid of in various moves. I wanted her back on my bookshelf because I am PROUD to have her there. And I wanted to read more of what she was writing – no matter in what genre, no matter with what kinds of characters… No matter if she thinks a dead gay guy is channeling it. But the caveat was and remains I cannot find her…

It took a while for me to find out why. And it has made me furious.

Says Storm Constantine in the introduction of a recently “republished” ebook edition of Dark Dance:

“…printed copies of the novels have been unavailable for many years. Immanion Press’s republication of this trilogy is part of our commitment to help keep Tanith Lee’s work available in book form – as we believe good books should be. Any reader who has not read Dark Dance before should leave this introduction – or review – until they have finished the book…” Storm Constantine, November 2017, Dark Dance (The Blood Opera Sequence Book 1) (Kindle Edition)by Tanith Lee, Storm Constantine.

Thank you, Immanion Press, for being the one light in the darkness – for seeing exactly what Tanith Lee’s fans have known for decades, and for giving her back to us.

Now it is time for the Horror Establishment to reclaim her, to demand she be included in the evaluation of foundational authors in the Horror canon elect. It is time for an apology if not an explanation of shortcomings and owning the misstep.

Tanith Lee deserves the recognition we so stupidly refused her in Life. What say you, Horror Establishment? Will you make this right?

So here it is: this is my attempt to poison the minds of the Tanith-deprived: READ TANITH LEE. Wherever and whenever you find her work. You will not be sorry. But you may need to weigh in, to make sure we keep bringing her name up to Literary Critics for our genre. For sure, she will be one of the most fascinating writers that you never heard of in Horror.

And as for our genre, for our Establishment, for those who sent a perfectly good Horror writer into the arms of another genre and backlist oblivion: congratulations. You proved Lee right… she most certainly was a dangerous woman…

And for a brief time, she was ours.



“To wake, and not to know where, or who you are, not even to know what you are – whether a thing with legs and arms, or a brain in the hull of a great fish – that is a strange awakening. But after awhile, uncurling in the darkness, I began to uncover myself, and I was a woman.”… (Tanith Lee), The Birthgrave



Constantine, Storm. Introduction. Dark Dance: Book One of the Blood Opera Sequence by Tanith Lee © 1992, 2nd edition 2017, eBook edition through KDP 2018 An Immanion Press Edition published through KDP, http://www.immanion–press.com

Ennis, Dawn. “ Remembering Tanith Lee, Celebrated Author of Queer Science Fiction.” Advocate,       May 26, 2015. Retrieved 1/30, 2019 from https://www.advocate.com/obituaries/2015/05/26/remembering-tanith-lee-celebrated-author-queer-science-fiction

Gidney, Craig. “Tanith Lee: Channeling Queer Authors.” LambdaLiterary, September 13, 2010 as retrieved 1/9/2019 from http://www.lambdaliterary.org/interviews/09/13/tanith-lee-queer-authors/

Flood, Allison.“World of fantasy: Death’s Master by Tanith Lee.” Alison Flood’s world of fantasy Books , Fri 27 Aug 2010 06.05 EDT, as retrieved 1/9/2019 fromhttps://www.theguardian.com/books/booksblog/2010/aug/27/fantasy-death-master-tanith-lee  

“Tanith Lee: Love & Death & Publishers” excerpted from Locus Magazine, April 1998), as retrieved //10/2019 from http://www.locusmag.com/1998/Issues/04/Lee.html


46 thoughts on “Tanith Lee: Why Was One of Horror’s Best Female Writers Blacklisted? A Women In Horror Month Tribute (Part 1)

    1. You are most welcome! Having adored her early writings as a teenager, I just could not believe what happened to her. I hope this post brings some demand for her catalog back… it is a crime that she faded into a constructed obscurity…and we need to fix that. We owe her that much.

      Liked by 4 people

  1. Harli V. Park

    OH my god, I’d never heard of her and I feel so ashamed of that.

    She seems like a beautiful person and sounds like her writing would’ve been something inspiring for me. I want to know more about her and I feel heartbroken she’s gone. I want a way to read her work so I hope I can find one.

    Your articles and ruminations are amazing as always and I love reading them. I always come away with something wonderful!

    Liked by 3 people

    1. Knowing your writing, I think Lee’s work would be a nice compliment for inspiration. She was awesome — the kind of writer who makes life more interesting for her presence in it. And as a writer, she opened horizons for what could and should be possible…(and thank you for the compliment!)

      Liked by 3 people

    1. it is rare that all of the pieces can be brought together simply because a person dies — and yet that (and the internet) is the ONLY reason I found the information I did with regard to what happened to Lee, even this late after the fact. Almost all of my references are from articles noting her death. I think we should take the information and reinstate Tanith Lee’s earned reputation among Literary greats. I think there should be no further excuses — especially if we are to be ok with Poe’s addictions or Lovecraft’s misogyny and bigotry. To ignore her now is to be complicit.

      Liked by 2 people

  2. I’m glad I saved some of her works, magazines and books. I never knew what happened to her and when I mention she was one of my favorite horror writers people seem to have never heard of her. What a shame, the reality of what happened to her.

    Liked by 3 people

    1. I could not agree more. Reading her statements about being inexplicably ostracized absolutely infuriates me — not just as a fan of her work, but as a female Horror writer. She should be a battle-cry for the genre and feminists everywhere. She certainly is for me.

      Liked by 3 people

      1. Her stories were absolutely inspirational and if she channeled this ghost, even better! I wonder if the same kind of discrimination hit Poppy Z. Brite. I haven’t heard of her work in recent years either.

        Liked by 2 people

  3. KC, you continue to write extraordinary essays–they are much more than posts. This piece on Tanith Lee is powerful, and it, alone, could be the basis of a book! I know I keep saying this, but I will continue to encourage you.

    Liked by 2 people

  4. I am not a horror fan, but I do not believe in censoring or prohibiting in any manner what goes on in our bedrooms or our personal tastes as long as they are not physically hurting anyone else. We have a right to know and to read everything that we are interested. This is sad that we cannot find this apparently truly talented author but we can find anything to read about White Supremacists and Nazis.

    I did wonder too though if perhaps the fact that she cannot be found in bookstores has something to do with publishing rights to her books. Is it possible (and I am asking as someone who truly doesn’t understand or know about such things) that if a person had a contract with a publisher or publishers and the person passed on that the publishers could no longer publish the books? Is it possible that someone else or another publisher could buy the publishing rights? I wonder if writing to the original publishers might help clear up the mystery if they are still in business? Just a thought. Perhaps we can solve this long-time mystery via another avenue.

    This is a good topic because I believe there are many censored writers who should not be. Thank you kindly.

    Liked by 1 person

    1. Many of her publishers are still in business, and while there may be a few titles caught in estate issues, it does not explain why there was such a wall of silence in publishing her while she was alive. She may not have had bestselling sales toward the end (I do not know), however she was a consistent seller with a fanbase. The whole thing is just suspicious to say the least, as publishers are not shy to state falling sales as a reason to decline a manuscript. And because so many minority and “other” voices in Horror tend to be farmed out to other genres for their “emphasized Literary concerns” instead of being embraced by the genre, my suspicions are not good ones.

      Liked by 2 people

      1. I am very glad to read your good response. Yes, this is very interesting. It would be interesting indeed to look back on the books over the many years of history that have been banned or “silenced” as you put it so well. I am honestly more afraid of religious people who think they have to cram their beliefs down my throat. I will say that people who are gay, lesbian, or other sexual persuasions have never done that to me. I believe in live and let live, and you can believe whatever you want to believe as long as you don’t try to force it on me. I need to be responsible for my own thoughts and beliefs, and the only time I will try to dissuade someone in something they are trying to do is if they are trying to end their own life. Most people do that because they are so overwhelmed or in so much pain from something that is almost always not their own fault. I know from my own experience about these things. Anyway, even if that type of horror is not my own cup of tea, I still respect it as another amazing voice of creativity, and I too am saddened to read such things. Like I said, it would be interesting to look back and see how many other voices were silenced in this way. George Sands was not held back from her creative voice, and I do wonder how many others wrote in the past and were accepted regardless of beliefs.

        Liked by 1 person

  5. For all interested… regarding Poppy Z Brite… wow, apparently Life got crazy for Brite, who retired in 2010… There was an apparent change of gender identity for Brite somewhere around 2003(?), which may have added to confusion of fans trying to find works, as the author is now know as Billy Martin. There is quite a bit of info on Brite’s professional life on the net, so we did not “lose” Brite, but Brite may in fact be another displaced Horror writer…I may have to dig deeper…

    Liked by 2 people

  6. Wow, this brings back memories. I read Tanith Lee’s “Unicorn Series” as a kid, and I thought I’d lost my copies in moves, until 2 weeks ago when I found them buried in a box of old dishes (don’t know how they ended up there). Makes me glad I didn’t lose them for good. I had no clue she was a horror author though. I may need to go pick up that “Dark Dance” ebook then to read more of her work, since I loved the books of hers I did read.

    Liked by 1 person

    1. She was VERY versatile as a writer. Even now I would not call her exclusively a Horror writer as her Gothic Muse took her down many roads, but she was a writer who started in Horror and Horror-lateral genres. For that reason I consider her a writer IN the genre (and like Dickens, it does not matter where else she wrote, but that the quality of her work IN our genre places her in contention for being seen as “foundational” during her years with us…) I hope Literary Critics will give her her due as they establish our genre and identify our canon authors. I fully believe she belongs there.

      Liked by 1 person

  7. An incredibly post. Shocking, infuriating, and tragic. If Tanith was starting out today, as an indie author perhaps, she would have garnered huge numbers of fans & had more control over her profession. Thanks for telling us about her, She deserves to be remembered and read.

    Liked by 1 person

    1. Ironically we can see how our publishing times play with our minds… Since Lee published more under the old traditional system, I think it left her more isolated in the end, perhaps more exposed to the harsher weather of our declining publishing climate as well… I think we can and should keep her name and works visible, however. As Lovecraft would be able to attest today, publishers come and go but the works can grow immortal!

      Liked by 1 person

  8. Your article has giving me the goosebumps. I come from the Spanish-reading world, where Tanith Lee has not been treated well (but then translating books into Spanish is often a risky business for small publishing houses, that much I can understand). Getting to know the true story behind her being ostracized makes me angry, to say the least.

    Liked by 1 person

    1. I really do think it is all about the real world moving faster than the Critics of the Old…But in today’s fast-changing times, all of literature cannot afford to poke about wondering what it all means. We have a collective duty to tend our Art, and exalt our Artists — especially when they are feared. And in the Humanities we have an organic need to grow in whatever direction the sunlight leads…

      Liked by 1 person

  9. Reblogged this on adaratrosclair and commented:
    I remember the day I learned that Tanith Lee had died. Quite clearly. It was almost four years ago. And mourned. As a teenager, I devoured her short stories and novels. She was an amazing author and I wonder what other works she would’ve brought to the world, had she still been alive.

    Liked by 1 person

    1. Thank you, Monique! I am determined to bring back some important names in Horror that we conveniently seem to have forgotten…I am determined that new readers and writers in the genre know some of the authors who built the genre into what it became in the Boom…the more who learn about her the better. (And those who are interested in new Dark Fantasy authors, I suggest you peek at Monique’s very interesting blog…)

      Liked by 1 person

  10. This is incredibly well written, thank you!

    I felt such loss when I learned of her passing, and I was furious at the same time because there was so little mention of her death that I didn’t even find out until 4 months later when I was searching for a copy of Red as Blood for a friend.

    She’s been my favorite author since I was 13 years old and my youngest daughter who was born in 2016 is named Tanith for her.

    Liked by 1 person

    1. Myself, I continue to mourn her loss both to the genre and in real life…So few writers are of her caliber in both craft and storytelling… We lost her precisely when we needed more poetry in our genre prose! Thank you for commenting on this older post!

      Liked by 1 person

  11. Crystal Blue

    Oh, how I would love to have a conversation with Tanith Lee! I have been a fan since the 1970’s, a shy teen who read Drinking Sapphire Wine. I kept her books and keep looking for more. I wrote my own stories for amusement, in much less elegant prose, but at least I caught the dark beauty in them. The cross sexual characters never bothered me, and I truly don’t think they were as cruel and violent as others I’ve read or seen in films. I also do not understand why her work was blacklisted and taken off the market.

    Liked by 1 person

  12. I do think where we are in politics today suggests much about there being an Establishment determined to keep a “comfortable” status quo — totally ignoring the fact that especially in the Arts, we are soul-searching misfit individuals, that our art has everything and nothing to do with that… It saddens me to realize that even in the Arts we have those hell-bent to make a genre fit the image THEY have in their heads, no matter what it costs. The truth is writers like Tanith Lee are timely, inspirational, and foundational. I will argue for their inclusion in the ultimate Literary canon of Horror as long as I draw breath — because they are WHY so many of us love the genre and participate in it. And as for “nontraditional” or “New Agey” lifestyles used to cast them out, we are all entitled to see and survive life in whatever ways make it bearable. That Life puts us on an unending journey of self-searching has nothing to do with artistic acceptance…and I am thinking there should be more adults in the Horror room.


    1. Well said, Ms. Redding. Well said. As an amateur writer, I have to say I’ve had many encounters with individuals you describe as being hellbent on making a genre fit the image in their head. It seems today’s literary editors want to whitewash everything and reform it into one of three story plots, then wash all the flavor out of it with their Microsoft grammar correction programs. Horror can be intensely personal, yet somehow what terrifies someone can resonate with all of us, and make us feel like we’re not the only one experiencing something frightening, encourage us to speak our fears, or fight the evil that tries to destroy us. I enjoyed Tanith’s horror hugely, the stories of Sabella, Delusio s Master and Tales From The Flat Earth are extraordinary explorations of horror to me. I can’t say the same for the Twilight series. (No disrespect intended to the author. She worked hard to get it published.) Tanith really made me think about the nature of evil. How can you not be awed by someone who has the insight and sheer ballsyness to write “What is any of this to us? Time is endless and ours. Love and Death are only the games we play in it.”
      I do not want these stories to be buried or edited to nice little versions of the three approved storyline plots. You have my support. Write me some day.

      Liked by 1 person

      1. I think the genre is big enough, gutsy enough, and variable enough to support different subgenres and audiences. This is where we will get our Literary contributions — from those who think and create outside the box while resonating with the average everyday reader. We cannot afford to be so narrow-minded, or arrogant, or ignorant. And it is time we demanded that HOWEVER authors like Tanith Lee were excluded, that they be returned to the genre and honored for their contributions. We should welcome the challenges, celebrated the differences, and invite the competition. As readers we would relish the chance to explore HORROR. (Thank you for commenting!)


  13. Thanks for posting this–it’s amazing how much of a real-life horror story it is!

    I’ve ordered one of Tanith Lee’s books that I managed to find online. I do recall her name (maybe from browsing library books when I was growing up), but I hadn’t read any of her books as yet.

    Thanks for your passion for artistic integrity and pointing me in the right direction 🙂

    Liked by 1 person

  14. I don’t think homophobia was the reason Tanith Lee was blacklisted by book publishers who’d been happy to publish her work in the 70s and early 80s. She was one of several Science Fiction authors who emerged at the end of the 60s and beginning of the 70s who explored alternative sexual modes in their work. Others include Philip Jose Farmer, who postulated near Future worlds where bisexuality was the norm, Samuel R Delaney who likewise set his stories in worlds where sexuality was not limited to the heterosexual version and JG Ballard, who was credited by Harlan Ellison with ushering in this new era (referred to as “The New Wave of Science Fiction”) of literate speculative fiction. In at least two of Delaney’s novels the protagonists are bisexual and in Dahlgren, the protagonist’s first sexual encounter in the strange environment he finds himself in, is a homosexual one which Delaney describes in fairly explicit detail, far more detail than Tanith Lee ever did to my knowledge. (Ballard also does this in “Crash”.)

    I used to be an avid reader of Science Fiction and Horror, beginning mostly with books written for children (except for Poe’s stories) until the age of 9 when we moved to Montreal and I discovered, in the flat we rented off Mountain Street, a copy of Robert Heinlein’s “The Man Who Sold The Moon”, which was my introduction to adult Science Fiction. I became something of an addict and devoured Science Fiction until 1981, when I lost interest in the genre. I still read Horror and was half-tempted to pick up a copy of The Complete Short Stories and Poems of Edgar Allen Poe in a Value Village earlier today. (It didn’t have his prose poem “Eureka” so I didn’t bother. I have read Poe’s stories and poems so many times, I could almost recite them.)

    I lost interest in Science Fiction because the genre had gone downhill from its heyday in the 60s and 70s, when it was at its most literate. You see, at this time, there was a movement within the genres of Science Fiction, Fantasy and Horror to reclassify them under the category of Speculative Fiction, and those of us who were really into it, bought into and tried to promote the idea that Speculative Fiction was the literature of our time. Most, if not all of us, firmly believed that the stuff being written by the likes of Delaney, Ursula K LeGuin, Frank Herbert, and many others, and especially by Tanith Lee, were on a parr with the great literature of the Past. As close as I could come to believing in anything (I’m an Absurdist), I believed in Speculative Fiction as the New Literature and its authors and proponents as the new literati. Sadly, by 1977, shortly after I discovered Tanith Lee, this was beginning to change.

    Disaster novels have long been a kind of sub-genre of Sci Fi, but I doubt many serious Sci Fi buffs ever considered them on a parr with the real thing. Unfortunately, some established and some new authors reinvigorated this sub-category. The first I recollect, around 1977, was Larry Niven and Jerry Pournielle with some crap called “The Mote In God’s Eye”. There was a kind of rightwing, almost racist subtext to this novel that would become apparent in lot of Speculative Fiction as the 70s resolved themselves. Bad enough as this re-emergence of the disaster novel, the emergence of badly written, unbelievable space opera nonsense was even worse, and had a decidedly sexist subtext. It was such crap that I can’t recollect the names or even the titles of any of these books I read. I do remember one of them postulated that Humanity’s first venture out to the stars resulted in us losing a war with some superior alien race, such that, all the women were killed (why women were ruthlessly exterminated I forget). The surviving men hire themselves out to one alien overlord who promises there is a planet where he has managed to stash some Earth women which will be their reward if they wipe out his enemies. So, yet more war in space. The theme of inter-stellar war would come to dominate the genre. The unbelievability of this novel was heightened (at least for me) when the starship crew pulled out welding bottles to repair their damaged starship after a battle.

    Now in 1977, oxy-acetylene welding was still the most common form of welding around; however, it was already being superseded by arc welding. It seems absurd to imagine that oxy-acetylene welding would be used aboard a spaceship, even assuming it was a type of welding still being used 400 or 500 years from now. Those welding bottles big, awkward and heavy! By the end of the 70s, disaster fiction and space war dominated the genre. Although most serious Sci Fi buffs used to cheer every time Hollywood made a Science Fiction movie, I suspect I was not the only one who was disappointed and dismayed when Star Wars came out and seemed to represent an amalgamation of Edgar Rice Burroughs with Mickey Mouse. Star Wars was the nail in the coffin of Science Fiction for me. But, that kind of crap is what appealed to a mass audience, and publishing companies were quick to pick up on that.

    The end of the 70s and beginning of the 80s brought us YUPpies, Ronald Reagan, Margaret Thatcher, and the wedding of 19th Century Liberalism to Reactionary Conservatism with Ayn Rand holding their flower bouquet. It was the birth of late 20th Century Capitalism in which Selfishness was a virtue, Greed was good and pursuing and maximising profit was the most important activity of society, regardless of its effects on society and the environment. Thus, publishing companies – the bigger ones – switched their focus from intelligent, literate fiction to formulaic rubbish that had a mass appeal. Speculative Fiction mostly ceased to be speculative, interesting, imaginative and thought-provoking. Its only purpose was to be entertaining to as many people as possible. If it could secure a movie deal, even better. The potential to make money was the main, possibly the only, criterion with which to judge a book by.

    People like Tanith Lee were no longer considered relevant, since they never made a serious effort to appeal to a mass audience, as Tanith Lee herself has stated. Science Fiction’s brief foray into great literature was over, and publishers, like Daw, bear most of the blame for this. Daw began life publishing speculative literature exclusively at a time when such literature had its most grandiose ambitions. It gave us greats of the genre like Tanith Lee, along with many others. However, Daw was also one of the first, if not the first publisher to ditch literate writing in favour of the sort of inferior junk that has mass appeal. If Jacqueline Suzanne, Alex Haley and Harold Robbins had written Science Fiction, Fantasy or Horror, Daw would have been their publisher.

    Homophobia may be a factor in the blacklisting of Tanith Lee; however, she was by no means the only Science Fiction/Horror/Fantasy writer to explore alternative sexuality in her work. Nor was she the only author who created worlds, like Four Bee, where human beings could change their sex whenever they felt the need or desire for a change. John Varley’s novels featured such shape shifting, for example, to the point where he felt compelled to write a novel describing the evolution of sex-changing as a social norm that was originally latched onto by a mostly bohemian crowd of young adults. Gender bending, changing one’s sex, bisexuality, homosexuality and the whole gamut of human sexual experience was in the Zeitgeist of speculative fiction by the mid 70s. Such themes disappeared along with anything else of intelligence from the genre by the 1980s, and again, I think it was pursuit of profit that brought about these changes. Greed was good and selfishness was a virtue and we still have not recovered from the social and environmental harms of that decade. Gender bending, sex changing and the like, clearly did not have mass market appeal back then. But neither did anything else that was thought-provoking and intelligent. Tanith Lee was a victim of this switch in the attitudes and mandates of big book publishers desperate to remain profitable when videos and later, DVDs were competing for our attention with staid old books which were already beginning to seem a bit fuddy duddy.

    Liked by 1 person

  15. Thank you for your well-thought-out comment! I think you make very valid points… but what I have noticed is a weird sanitizing and whitewashing of the Horror genre tucked neatly behind that pursuit of profitability. No artist or writer should create based on an audiences’ expectation. We should be creating to tell a story, to brandish the truth. Likewise, this tendency to elevate certain authors to a pedestal declared “closed for further addition” is reckless and irresponsible. Great Art comes in many guises, and the tendency to treat writers like Tanith Lee as an afterthought, to not uplift them as canon authors is clearly hiding some other motive than lack of profitability — it reeks of moral judgment. Imagine the same attitude in Science Fiction — to say all of the Great Science Fiction looks only one way and is done…so no one else will be included in the canon roster. Why would anyone else bother to write OR read it?

    I believe we do not improve ANY genre by narrowing the criteria, by demanding a certain author profile, by basing the art on its sales. I believe we fling open the doors and invite all parties,and let history and future Critics sort it out.I believe genres — like Literature — belong to the people it is written for — not written “to”,,, The fact that Lee is not the only author “banished” is the problem. The PATTERN is the problem. And I think it speaks volumes… Enough of the excuses. It’s time to own our choices. Tanith Lee is the perfect example of when and why.


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