Women In Horror (Sexism, Feminism & Male Preference in the Horror Genre Every Month)


(A late Women-In-Horror Month posting with apologies to regular readers: my computer died and took my originally planned post with it. This is a reconstruct… from the best of my failing memory…)

Here in the climate of #MeToo, female writers of Horror do not have far too look for a sad sisterhood.

How quickly must I apologize to male readers of this blog? How deeply must I sublimate the resentments that still haunt every writing decision I make like so many Leng Hounds?

This is how we know there is a problem: “No offense to male writers of the genre, but…”

Because here we are not talking about a casting couch. (Perhaps those of us who are writers of fiction too often seem unsexy in our sweat pants and pinned up hair, locked for long periods of time like mental patients in our writing rooms, we only “glam up” on occasion and usually by accident.) No, our personal Horror stories are more about the annoyances of #MeToo experiences in minimum wage jobs while being unceremoniously rejected by publication after publication – all (of course) touted to be the best in our genre, although we ourselves as readers may think differently.

Why, male writers might think, do we believe we still have a sexist problem in the Horror genre?

Answer: Because if an author like J.K. Rowling uses a male pseudonym (NOT a female pseudonym) to write fiction, then Houston we have a problem in publishing period. And Horror has no J.K. Rowling…

Never mind that no matter how she meant it, I found it somewhat disturbing that Rowling found it “liberating” to write under the pseudonym chosen. Because on one hand it was anonymity. But on the other, it was gender anonymity.

 

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On Being a Female Horror Writer

So here it is: I am not saying that perfectly good, perhaps even GREAT male Horror writers do not suffer unexplained rejection. (And that’s all the apology you are getting.)

I am saying that what happens with male writers in the genre – unpublished male writers – is different. Male writers are allowed to be unpublished without being shamed.

Female writers are automatically assigned to the category of not being good enough to be published – not just not having found the right publication for our work. Our bios are filled with charming cats and doting spouses. We are not likely academics or authorities in any field – at least publicly (because bragging is not ladylike). And a lot of this is our own fault. We think the way we were cultivated to think. It is unbecoming, unflattering, and kind of bitchy to show any sign of aggression (read as “competitiveness” if you are male). And for those of us born around or in the Baby Boom – well, ladies should not be offensive. And if they are, they deserve to be taken down a notch and shown their place.

And then we overthink the thinking that has been imposed on us. Women in most professions today are still not “free.” This is sooo evident in women’s writing — from creating it to judging it.

For one thing, male writers are not forced to live deep inside their heads second-guessing EVERY creative decision they make.

I just lost sleep last night wondering why I keep writing MALE protagonists. What is wrong with me? Shouldn’t I be writing female protagonists? But then if I do write female protagonists, am I narrowing my audience? Will I be assumed to be a Young Adult writer? A sensationalist writer? A writer with no market?

Should that female protagonist’s name be gender-ambiguous? What if she is TOO strong? What does it mean if she has a boyfriend? How should they interact? What if she is too aggressive or not aggressive enough?

Should I write under initials? What if they see my blog avatar and I am outted before they read my fiction? Does it matter?

Will a female editor give me more of a chance if she knows I am female or be harder on me to overcompensate because SHE is a female in the typically male dominated field of Horror?

It took me a few hours to realize I had completely lost the story I was thinking about…

This kind of mental Vietnam goes on forever for female writers in general, but especially in our genre.

One of the most powerful discoveries I have made as a writer is the one where I realize that I am a female writer…which apparently makes some sort of difference…especially in the Horror genre.

Amazingly, what I have found is that where male authors are concerned, their end-product is evaluated at face-value; for female authors, there ensues a search for subtext. For male authors, biographical details are enhancements, for females, they are excuses. To properly “dis” a male author, one simply criticizes them like one does a female author.

Before there is an all-out, knee-jerk reaction from all the men out there, let me clarify: I am not only saying that it is harder for women to find appreciation or publication…what I am saying is that for some pretty interesting and un-admitted reasons, there are always strange, invisible criteria applied to the judgment of fiction works by women. Whether we are talking publication, Literary Criticism, or “simple” editorial decisions applied in anthologies; whether we are talking education, professions, and reputations, if you are a woman writer, people in general are wont to make apologies and excuses for your choices. Everyone becomes an arm-chair psychologist and a genre expert. All of a sudden the writing of a woman is not “just a story” but a running commentary against men, against patriarchy, against society…in other words, you are attempting to be Literary.

This makes it easier to weed out women’s writing from general submissions: if a publication wants playful, inventive storytelling and you are suspected of being a guerilla Literary writer, well this story is just “not for our publication.” Suddenly you are out of your depth as a writer and nobody wants to sort it all out.

And then if you are a woman and you write Horror…well then you, my dear, are miraculously transformed into a rebel.

What kind of woman writes Horror? Is it even decent?

Curses. I bothered my pretty little head about it…

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http://popsych.org/two-fallacies-from-feminists/

It has been profoundly interesting to me to discover that because it is not “cool” to like Literature in these times, any writing that is not clearly “anti-Literary” and quasi pulp-driven is inherently subversive. Slap on a female byline, and suddenly it is obvious to everyone but yourself that you are angry, anti-establishment, and man-hating, and write boring, overly saccharine, overly wordy, overly sentimental made-for-a-limited-female-audience trash fiction.

I didn’t come to this conclusion through rejections of my own writing, nor am I saying that is why I personally find rejection with my writing (I earnestly think my writing has flaws that I do not yet know quite how to fix). I am saying that this is what I see as a female writer researching the Horror genre. This is what I read in Criticism of woman in the genre…

Sure, many male writers experience something similar when they write Horror…the difference is that historically once male authors develop a body of work, that work “lives” in reviews, criticisms, comparisons, historical perspectives, collectible comics and collectible publications which go on to have value in the collective body of genre works…if not an underground following. A great deal of women’s fiction in the genre just disappears as old magazines disintegrate or go out of business.

When one considers that in the magazine industry at the turn of the century, it is estimated that over 70% of published Horror genre writing was being done by women…is it not truly weird that not only have most of us not read those writings, but we don’t even know the names of the authors?

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Divide and Conquer

When you are a female writer of Horror, you tend to feel isolated and alone. Everywhere you look, the examples of how to write Horror “properly” or successfully are overwhelmingly male. Many like to say that this is because it is mostly men who have shaped and produced the genre.

But they would be seriously wrong. It is only that male writers have found immortality in the world of Criticism, reprints and anthologies. That has led to their constant rediscovery and intense scrutiny by genre experts while new male voices have dominated the last three decades of Horror because that particular period of the genre has focused on male-driven interests. The minute our genre became one giant slash-fest is when most of us noticed it…but the style of writing – including plotlines, dialog, the fast-moving, no-nonsense, take-no-prisoners narrative, the underdog antihero – these are the contributions male writers have made of late. But only of late. We are now on a railway “spur” to nowhere…The genre needs to reinvent itself and rediscover its center

Prior to the 70’s and 80’s, the writing style was much different. It was more Literary, with heavily detailed narrative, an emphasis on suspense, and exhibited a clear evolution from earlier genre works (think Poe and Lovecraft, Machen and James). In this period and prior to it, it was women who were the foot soldiers of Horror.

That is not to devalue the contributions of men of the period – including several heavy-hitters who came from Literary channels to write the occasional tale of the supernatural. But it is to say that women were mass-producing tremendous amounts of published works, while it is largely male writers who are identified as having risen to the top of the genre.

Yet if these women’s writings were so good, why don’t we know who they are?

Sometimes this is because many Literary Critics want to see a clearly defined body of work, and many women’s “bodies” (pardon the pun) are literally ghosts of the past (ladies notice the pun). If one can’t find them, collect them, and publish them, many Critics will not bother with them. The problem is that what happened to women’s writing – including its denigration, its relegation to the pulps, the public chastisement of the female authors at the hands of many male authors and the Critics of the times – means that we can’t find whole bodies of works for many of these writers.

While we are entertained by suppositions that women “get busy” with domestic duties and diversions and are therefore historically “unreliable” in building careers in general, the truth is a bit uglier.

Historically women’s writings simply were not assigned the same value as written works of men.

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Women are expected to write for women readers. Men, on the other hand, write for us all.

This is a verifiable fact of history. One doesn’t have to be a feminist or dislike feminists to find plenty of evidence. It is just one more point of divide and conquer. If we stop and argue about that point, I would never get to my point.

Not being valued, the work of many early women writers is scattered about the many different publications of their day, most of them defunct or no longer having those issues available. No one thought to save the works, and just like today, many women were writing to pay the bills that come with the haphazard consequences of unpredictable lives dependent upon the favorable whims of men. Who knows what happened to their handwritten originals and typed manuscripts?

It is also to say that some of those works which did survive are now found in several subgenres and established Literary genres. Gothic, Gothic Romance, Suspense, Mystery, Ghost Story, Thriller, Supernatural Fiction, and straight-up Horror… No one knows where to put them: classified by genre, or by author’s body of work? (Maybe this is why I tend to shy away from re-categorizing Horror as “Weird”… it is predominantly male writers who can meet that particular defining “criteria” to the Literary Critic’s eye…and I am tired of witnessing the seemingly intentional exclusion of women writers).

Frighteningly, I’ve also noticed that not unlike today, many of those women – unlike their male counterparts – were made to pay professionally, personally, and socially for their “bad” choices…specifically the one to write genre fiction. I personally suspect that I myself have had a handful of job interviews simply because employers who found my blog or LinkedIn page wanted to know what I really looked like. (Alas, there are no tattoos, no piercings, no Gothic lips or hair. I am a boring Horror writer.) And I can tell any young female novice of the genre that the adulation of your peers will not last; it will be replaced by a thundering herd of stereotypes about people who like Horror and the kind of women that write it. Those stereotypes will not be nice and they may cost you jobs, friends, and relationships. Unlike male Horror writers who are cool, and refreshingly anti-establishment, as a female you will just be weird and as all feminists are to those who don’t like them – you will be possibly thought dangerously unbalanced. This would be amusing if it did not have tragic, real-world consequences…

But it is just further proof of what I am saying here. Regardless of how our male counterparts think we are being treated or perceived, something ugly is still going on with the reception of women’s genre fiction and the “image” of female genre writers. If it’s out there in the workaday world, and Critics grudgingly admit it, what is happening at the publishing level? Why in the few remaining Horror sections of the fewer remaining bookstores is there only one or two female authors of novels? Typically only 1-3 female authors in an anthology of 15 or more? (Happily I can state that Ellen Datlow and Paula Guran have gone a long way toward changing that trend, but why are they as women typically alone in the inclusion of more female writers in anthologies?)

In Horror, clearly we are still an unwilling part of somebody’s tasteless joke. It took me a while to “get” that, because I am proud to write Horror and proud to be genre. I don’t “get” what other people find “disturbing” about that; I see such judgments as living proof of profound Literary ignorance which certain people appear to be proud to display. I don’t see writing as frivolous, or self-indulgent, or particularly subversive and irresponsible…but as a woman who writes, this is the message being spit in my face. Over and over again… All too often at the cost of employment in a regular job.

Do male genre writers experience the same? It doesn’t seem so, or it doesn’t seem as widespread…

But neither observation surprises me, because this has been the tradition of treatment of women who write genre fiction from the beginning. It used to be the standard treatment for women who write fiction period.

“If a woman writes fiction, there is something wrong with her.” (Darn tootin’…she’s not afraid to think for herself. And in the case of Horror writers, to destroy the world one monstrosity at a time.)

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Meme Watch: Feminist Yog-Sothoth Sees All And Would Really Appreciate A Trigger Warning

The bottom line is that women writers of genre fiction have this strange uphill battle going on that we don’t remember starting. We just sat down and began to write stories for good or ill. But the fact remains that there are names missing from our canon which might well belong there but for the fact that they belong to women.

Now… one can toss around all the insults and excuses one wants about these (or any other) women writers. But if you have read women’s genre fiction especially from the late 1860’s into the 1900’s without deciding beforehand that they are man-hating feminists, you would be shocked and surprised at the quality. The ladies did more than hold their own.

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Undoing Diversion

To unearth this wealth of writing, one has to be a bit of an archeologist. You are going to have to dig. But you are also going to have to avoid stepping in steaming hot piles of …argument. Because argument is one of the tactics of those who want women’s writings to stay buried and disenfranchised. To do that, the best diversionary tactic is to pit men against women and to humiliate any woman even thinking about challenging dominant opinions. Nothing derails the truth like a wardrobe malfunction and a little name-calling.

If a woman points out that certain worthy female writers are consistently ignored, then we can just call that woman with the annoying voice a “feminist.” And bitter. And jealous. In fact, so is that darn writer she is yapping about…

For one thing, sensationalism distracts from the real issues. If a woman can be labeled a feminist, we give ourselves permission to stereotype her right into man-hating oblivion. Best of all, we don’t have to listen to what she says or justify why it’s okay to maintain the status quo. We get to stay lazy, blind and in the bubble. We don’t have to do anything and there is a crowd of people patting us on the back for agreeing with their loud selves.

We also don’t have to judge history, ancestors, or our own behavior. Women – you see – tend to write fiction that is meant to strip the flesh of pretense from the bones of reality. That kind of thing happens when by nature of your gender, you are privy to the inequalities and injustices thrust upon others…or yourself. After a while you get pissed off. Unfortunately, even now times have not changed enough for women to “talk like men” and speak freely without some sort of repercussion.

All a woman must do is allege that this is true and the Gender Wars erupt. This is how we manage to not change: we divide and conquer. We get busy making it us-against-them, throw some dirty, scandalous rumors in and – voilà! – nobody is talking about the issues anymore.

So I am not going to talk about why men should see the things women see so clearly. What I am going to do is say this about women writers:

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http://uppercasewoman.com/2011/10/24/what-feminism-means-to-me-and-proposition-26/

 

If even one of these issues raises its ugly head in a woman’s prose, she will be called a feminist, her work will be a treatise on some feminist issue, and that is just too darn lofty for the average Horror fan who just wants a good read.

But just try being a woman and not know these things intimately. Men are lucky; they don’t have to think about them. But for women, these issues shape our lives and will inevitably find their way into honest fiction because they haunt us. They dog our every step. Sometimes we even use them against each other to try and impress men.

Whether we hide behind a male viewpoint or venture out to express our own, we don’t get the same choice as a male writer to be separate from the issues – simply because even if we don’t write about them people will root around in our words until they can find some semblance of what they think is there. And if that is not enough, they will talk about our private lives as though that is the reason for our failures and insufficiencies.

Is that why men tend to be “struggling writers” and women tend to be “failed” ones?

We could argue the merits and faults of feminism with men who hate what they think is feminism, or we could preach to the choir. But who I really want to reach is the female Horror writer out there who thinks she is alone in the genre, who thinks women don’t write Horror well, who thinks women never really contributed to the history of Horror.

Like that young woman, I also want to know: why haven’t I heard these names before? Where are the reading lists that include them? Why do I have to have some forty anthologies of “classic” Horror to get a sampling of the women writers of this genre?

The answer is simple if not simply unpleasant: genre writers of the female persuasion were definitively not treated the same as male writers in the past, and because of it, many are overlooked if not lost altogether. In order to change this, we first have to see how we ourselves may be being treated and speak up. We have to stop allowing anyone to make us feel somehow deficient or inferior because we choose to write, or to write genre. We must support Literary Critics who are willing to analyze the writing of women writers, and editors who include women writers of today and yesterday. We are fortunate in having editors at the top of our genre who tend to do that now, but we must never allow ourselves to be lulled into complacence. And we must definitely never allow ourselves to be convinced that it is because of women in the genre that the genre seems to be losing prominence.

It is not about the writing or who is writing it…Horror (like all of publishing) is still battling Technology for the right to exist…

Women have important things to say, and in Horror, important ways to say it. I don’t mind noticing that I am a female genre writer. But I resent being reminded of it only to be made to feel guilty. This is 2020, isn’t it?

And yet we still see a predominance of male writers published in the genre – even though women are gaining some ground.

So for all of you novice and new Horror writers – especially women writers – I say “Hold onto your hair, fellow Horror-chicks. We write among giants.” Following is a list of books that address women writers in and around the genre, writers of the past and present. I am going to name names. And while some of these can be pricey, they are eye-opening and worth the read.

As a female writer of the genre, you would be doing yourself a disservice if you overlook this information and the glorious treasure troves of Horror fiction. If you’re going to be part of a tradition, it helps to know whereof you write…

Because some of those “men” might well have been women.

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Literary History and Criticism/Essay

Carpenter, Lynette and Wendy K. Kolmar, eds. Haunting the House of Fiction: Feminist Perspectives on Ghost Stories by American Women. Knoxville: The University of Tennessee Press, c1991.

Davenport-Hines, Richard. Gothic: Four Hundred Years of Excess, Horror, Evil and Ruin. New York; North Point Press, c1998.

Hay, Simon. A History of the Modern British Ghost Story. New York: Palgrave McMillan, c2011.

Joshi, S.T. The Modern Weird Tale. Jefferson, NC: McFarland & Company, Inc., c2001.

Nelson, Victoria. Gothika: Vampire Heroes, Human Gods, and the New Supernatural. Cambridge: Harvard University Press, c2012

Short Story Anthologies

Ashley, Mike. Unforgettable Ghost Stories by American Women Writers. Mineola, NY: Dover Publications, Inc., c2008.

Baldick, Chris, ed. The Oxford Book of Gothic Tales. Oxford: Oxford University Press, c1992.

Bleiler, Everett F., ed. A Treasury of Victorian Ghost Stories. New York: Charles Scribner’s Sons, c1981.

Cox, Michael and R.A. Gilbert, eds. Victorian Ghost Stories: an Oxford Anthology. New York: Oxford University Press, c1991.

Dalby, Richard, ed. Ghosts for Christmas. Secaucus, NJ: Castle Books, c1988.

Dalby, Richard, ed. The Virago Book of Ghost Stories. London; Virago Press, c2006.

Dziemianowicz, Stefan R., Robert A. Weinberg & Martin H. Greenberg. 100 Ghastly Ghost Stories. New York: Barnes & Noble Books, c1993.

Lundie, Catharine A., ed. Restless Spirits: Ghost Stories by American Women 1872-1926. Amherst: University of Massachusetts Press, c1996.

O’Regan, Marie, ed. The Mammoth Book of Ghost Stories by Women. Philadelphia, PA: Running Press, c2012.

Salmonson, Jessica Amanda, ed. What Did Miss Darrington See? An Anthology of Feminist Supernatural Fiction. New York: The Feminist Press, c1989.

Women Authors of Note in Supernatural & Gothic Fiction

Aiken, Joan

Alcott, Louisa May

Alice Perrin

Amelia B. Edwards

Amelia B. Edwards

Antonia Fraser

Atherton, Gertrude

Austen, Jane

Austin, Mary

Baldwin, Louisa

Barbara Burford

Beecher Stowe, Harriet

Braddon, Mary Elizabeth

Broughton, Rhoda

Cather, Willa

Charlotte Bronte

Charlotte Perkins Gilman

Cobb, Emma B.

Corelli, Marie

Crawford, F. Marion

Du Maurier, Daphne

Dunbar, Olivia Howard

Files, Gemma

Glasgow, Ellen

Hull, Helen R.

Jackson, Shirley

La Spina, Greye

Lawrence, Margery

Lee, Tanith

Lively, Penelope

Molesworth, Mary Louisa

Morton, Elizabeth

Nesbit, Edith

Oates, Joyce Carol

Oliphant, Margaret

Pangborn, Georgia Wood

Peattie, Elia W.

Phelps, Elizabeth Stuart

Quick, Dorothy

Radcliffe, Ann

Rendell, Ruth

Rice, Anne

Rice, Susan Andrews

Riddell, Charlotte

Salmonson, Jessica Amanda

Shelley, Mary

Sinclair, May

Spofford, Harriet Prescott

Stewart, Mary

Tuttle, Lisa

Welty, Eudora

Wharton, Edith

Wilkins Freeman Mary

Wood, Mrs. Henry

 

 

That Woman In Black: Susan Hill — a Gothic Writer for the Canon


It’s time we got one thing straight: what all seminal writers of what should become our Horror canon have in common is this – whatever they write, from wherever they come, however long they are with us, their stories shape the genre in some important and unforgettable way.

Yet at this moment in our history, we have apparently “decided” that along with writers who also write in other genres, the ones we should ignore are the ones who “reject” our genre or who write limited works in our genre.

This is stupid and a horrible, intentional oversight.

We can excuse Literary Critics who embrace their favorites based on their academic interpretations and understanding of not only what makes Literary writing great, but what qualifying mechanics they also prefer to see in their own love of Horror. But in truth, for the rest of us what truly belongs in our canon are works that drive the evolution of our genre, stories that beget stories and ever newer interpretations of Horror, tales that reinvent established subgenres so that modern times can participate in the traditions of the genre.

Yet this is not what is happening. There are certain authors whose names seem “forcibly” and reluctantly mentioned when the Establishment is pressed to supply qualifying names for our as-yet-established canon…and Susan Hill is just such a writer.

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It’s All About the Writing, Right?

Susan Hill was born in Scarborough, England, February 5, 1942, educated at a convent school, a graduate of King’s College, London. Her first novel was published while in school in 1961, and she was a freelance journalist from 1963-1968, becoming a Fellow of the Royal Society of Literature in 1972. She has been described as a “prolific writer of numerous novels, collections of short stories, non-fiction and children’s fiction as well as a respected reviewer, critic, broadcaster and editor.” (British). In 1975 she married Shakespearean actor Stanley Wells, leaving him in 2013 to move in with her current partner… “The unexpected happened to me: I fell in love with another woman who fell in love with me.” The woman is screenwriter and producer Barbara Machin, creator of Waking the Dead, for whom Hill left her husband of almost 40 years, the respected Shakespeare scholar Stanley Wells….” (Kean)

Why Hill appears to be so easily dismissed by the genre seems to have an unnecessarily complicated motivation – one that may have more to do with her rejection of us…because she has indeed repeatedly tried to distance herself and her works from the Horror genre.

The question I have, is did we at any time encourage her or writers like her to just go away?

Have we gotten so arrogant in our Establishment that we banish works from writers who want nothing to do with us and do we ever ask why? When a writer recoils when called a Horror writer, should we be offended or take a much harder look at the type of works we are allowing the genre to be represented by? Furthermore, shouldn’t our Establishment be taking that very opportunity to educate both writers and readers about the true nature of our genre’s historic meanderings through so many genres, its influence on and from so many genres – and its very impressive depth?

But we also have to ask if there is something even more insidious at work here. Is our Establishment choosing and excluding writers also based not only on written content, but perhaps their own personal lives? Are we miscommunicating and even limiting the genre by our inherent “favoritisms”? And are those favorites more likely to be at least white, preferably married men, preferably within a certain agnostic or atheistic circle? Are we playing conformity games with presumed moral authority?

Is it a coincidence that Susan Hill is yet another writer in our genre who is living a nontraditional lifestyle? Whose private life is public knowledge? Who might be lesbian or bisexual or any other label so easily affixed?

We need to be asking and answering these questions. And this is not the job of the Literary Critic, but the job of those of us who collectively make up the genre. This may mean it is time for editors to explain their selections, for governing bodies to explain their rejections, and for fans to demand access to the best writers in our genre regardless of sexual orientation, lifestyle choices, or even “home” genres…

Without pressure from the Horror base, we are going to see increasingly institutionalized discrimination against new and old writers in the genre. We are going to see publication choices made that will have a chilling effect on the future trajectory and evolution of the genre. We need variety of story and voice, not censorship. And Susan Hill’s modern journey in the genre is a perfect example of what happens to writers who fall “outside” the lines… Because those other questions remain: do you know who Susan Hill is? Do you know her work? If not, why not?

Is our collective silence in the face of Susan Hill’s subsequent rejection of the genre the only reason we tend to reluctantly “mention” Susan Hill when we are talking about modern canon-elect authors? Did her rejection of us happen because she dislikes what Horror the genre is being interpreted to represent, or because she in her personal life didn’t fit the desired stereotype? And has anyone at all got a really legitimate reason why Susan Hill is never really mentioned as a foundational author in our genre?

We as a genre have begun to put out certain “vibes” that only passionate followers willing to conform to historic whim and dedicated acolytes willing reinforce emotionally-driven criteria need apply, and that everyone else who might reject or refuse to “toe the party line” will be summarily excluded. We have given the Cold Shoulder to quite a few writers and their works in our rush to enshrine Lovecraft and Poe… writers like Susan Hill, author of many well-known, well-respected ghost stories such as The Woman in Black and The Mist in the Mirror…Does this bother anyone else out there? Does it bother anyone else that “certain” writers are given honorable mention in the most reluctant of ways – even when the general public can see a relevant contribution when it is made?

We have spent so much time in the genre clamoring for Literary writers… and Susan Hill is exactly that. Yet once again, despite the raw obviousness of her ghost stories being Horror stories, we have shrugged her off. We have come to pretend that works labelled “Gothic” aren’t really Horror because they aren’t “hard core” enough. But…the Gothic, people…. this is our foundational HISTORY.

Susan Hill walked away and we just let her go…

And yet, instead of holding the Establishment accountable, we default to blaming Hollywood, using the success or box office failure of the film to justify rejection of the work. Such is the unfortunate case with The Woman in Black (where the book is in fact, better)… Hollywood managed to botch the film – an otherwise capable tale told with substantial actors – with what looked horribly like poorly rendered, drawn-in, cartoon Dementor-like ghosts and whereupon reviewers spent most of their critical currency discussing Daniel Radcliffe and comparisons to Harry Potter films. But sadly, the presence of the film has overshadowed the wonder of the work.

Indeed, it seems that most people don’t realize that there even was a book that preceded the movie – let alone that it was fantastic in its own right. We are unfortunately today more likely to assume a work began on film instead of looking for the book that the film was created from. And perhaps – just perhaps that is a little of why we don’t really know the name of Susan Hill, but honestly the more I dug into her biography, the more I suspect something more sinister has happened to erase Hill from our present catalog of works.

Susan Hill, you see, is another author whose sexual identity is at crosshairs with the old way of seeing things, and whose works have been summarily exiled to “Literary Fiction.”

Are you seeing the same pattern I am seeing? It looks like once again exile has nothing to do with Horror. And I am embarrassed for our genre.

Furthermore, I really don’t know when we are going to get our noses out of everyone else’s personal business. But this type of “problem” we have in our genre is yet another reason I support the Literary Critical position that the author does not matter in the analysis of their work…

How can we read The Woman in Black, The Mist in the Mirror, Dolly, or The Small Hand and ignore the legacy of Susan Hill in our genre? She has a place with us… She fills a spot emptied by the passing of the great Ghost Story Gothicists… She is a British Joyce Carol Oates, a more modern heir to the tradition of Daphne DuMaurier, her work so molecularly related to the important strands of Horror DNA that her exclusion from reading lists and recommendations is flat-out glaring.

Yet she is not touted by the genre as one of our own. Our Establishment barely acknowledges her.

Could it be because Hill rejected us first? Or because she did so very publicly?

Are we three years old and playing in sandboxes?

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Fixing Our Image Problem Is Not Done With Censorship

Susan Hill, you see, seems to shrink from any association with our genre – and while I would like to think that this is because of her age, that it has more to do with her own memories and rejection of the 1980’s shift to the sloppy work that spewed from the exhausted Boom or the emergence of the slasher subgenre – I suspect it might be the ghost of Clive Barker rising again… that once more our Establishment decided to play both moral and creative judge.

We are, I believe, losing authors due to two things in the Horror genre – arrogance in the Establishment that is both unfounded and totally undefined by established criteria, and a lack of official history in the genre that tells everyone interested in Horror exactly what genres and subgenres Horror encompasses.

The Horror genre is dominated by a collective ignorance – not because people are stupid, but because none of us are being educated about the genre today and because the Tech Boom’s obliteration of traditional publishing models is pushing our more modern “classics” from print and/or availability. Readers in the genre today are having a much harder time finding historically rendered Horror written by established or accepted top tier writers (like Poe, Lovecraft, King, Campbell, Barker, Rice)…let alone newer (and what would have been) mid-list authors or Literary cross-pollinators like Hill.

Worse, we have NO requirements. No matter what the Establishment says or implies, no one has drawn up any definitive and historically derived guidelines… they cannot even agree on tropes and conventions. They cannot even assemble those in one place with easily interpreted, applicable definitions. Instead any student of Horror will find not only variable lists of “accepted” authors and works, but additionally a wide interpretation and usage of terms whose definitions and usage vary according to the “authority’s” needs. No one EVER explains anything thoroughly in the genre…because clearly THEY don’t know either…and pretending it is a secret or that only Real Writers Know is just plain conceit.

This has resulted in a total identity crisis… And all the time we keep saying it is all about the writing.

Horror is what anyone says it is. And that has led to the exposure of yet another truth: our history (with the exception of recent efforts by Critics like S.T. Joshi and a few dedicated fans) remains predominantly and officially undocumented…

In other words, when a writer (let alone a reader) sees the “Horror” label, even today most do not see Classic Literature, Science Fiction, Detective/Mystery Fiction, Fantasy/Dark Fantasy Fiction, the Gothic, New Gothic, Southern Gothic, Gothic Romance, the Ghost Story as tributaries of a huge, historic Horror river. Instead they see Halloween, Chuckie, Nightmare on Elm Street, and all the really kitschy summer blockbusters of yore…

Is this what happened to Susan Hill? Was it her interpretations of self and works — or ours?

Our editors tend to look upon writers whose works mimic in any way the styles of earlier Horror incarnations as “bad” writers…as “uninteresting”…”too slow-paced”… “not modern enough”… They want something equally as yet undefined but that will please Critics, reinvigorate the genre, and sell like Stephen King… But they can’t tell you what it is…only what they think it isn’t.

And if you don’t like them…it isn’t. And increasingly, it also looks like if you are a gay or transgender writer, you probably don’t belong to us either…

Perhaps it was her own opinion of her own work, then, that reinforced one part of our Establishment’s opinion of her. As stated in piece by The Guardian, she tries mightily to distance herself from the genre:

“It is a ghost story – not a horror story, not a thriller – and not a gothic novel; although the terms are often used very loosely, they are not by any means the same thing…” (Mullan)

In the article, Hill explains herself, stating:

“I set out to write a ghost story in the classic 19th-century tradition, a full-length one. There have never been many, writers perhaps having felt the form would not stretch successfully. By the time I began mine, in the 1980s, full-length ghost stories seemed to have died out altogether. I read and studied the Jameses, Henry and MR, and Dickens, and I also had beside me the “bible” – Night Visitors by Julia Briggs (still the best study of the form).

“The list of ingredients included atmosphere, a ghost, a haunted house and other places, and weather. A footnote to “ghost” was a) of a human being; and b) with a purpose. There are dozens of little books of “true” ghost stories, usually sorted by geographical location, but almost without exception the ghosts have no purpose and so the stories are ultimately unsatisfying… There has to be more to fiction than that. There also has to be more than an easy manipulation of the reader’s superficial emotions – unless making someone jump out of their skin is the writer’s only aim. Not that trying to induce a delicious thrill of fear is bad – it is another form of entertainment, and what is wrong with being an entertainer? Dickens certainly considered himself to be one.” (Mullan)

Did she give our Establishment a way out of recognizing her work?

Worse, is she a product of the times when Horror had a less-than-savory reputation for mass market writing that was seriously less than Literary? Is she missing the forest for the trees? Does she not see her own importance to our genre based on the resonant DNA? Don’t WE?

Or is this about her sexuality? I cannot help but wonder…Because the writers I have loved as a fan are almost unanimously turning out to be gay or transgendered or wrestling with sexual identity (as well as excluded from the genre)… a fact I neither knew nor cared about growing up in the 1960’s and 1970’s…because for me it has always been about the writing….

H3 H4 H5

Reclaiming the Gothic

I think the technical problem we have in the genre is a misplaced sense of “purity”… of pedigree that has not yet been firmly established by Literary Critics. But that fact does not give our Establishment free rein to declare who is and is not in-genre – not when the same Establishment cannot or will not provide clear definitions and guidelines for what it argues IS the Horror genre. Neither does it excuse the eviction of authors who are not straight, white, Christian-or-rebel-atheist and male…

Ultimately it will be the Literary Critic who decides about technical definitions – something perhaps we all conveniently forgot when we threw ourselves at the Literary Critic and demanded a belly-rub. And now that we are firmly in the sights of Literary Criticism, having finally arrived at a point where Poe would be proud, we are trying to shove innumerable authors under the carpet. Why?

In a time when we are hearing a demand for better, more Literary fiction in the genre, why are we dismissing so many writers as “other-genre”? Why aren’t we fighting for them?

Despite Hill’s own assessment of her work, I argue she most certainly does write Horror. Literary Horror. The kind of Horror that blooms from very old roots. And her writing these ghost stories prompts some very important questions for our ghost story subgenre – especially in lieu of S.T. Joshi (our one dedicated Horror Literary Critic) to state his belief that the ghost story is “done” as a subgenre, and cannot be improved upon after M.R. James… While many there may be limits on how ghosts are pressed into service, why are they any different than Vampires? Why isn’t it about telling stories and original angles? About scaring anew?

This could not be more important or timely. Do we really believe the Ghost Story is dead? Can it be properly adapted in both short story and novel to sustain originality expectations? Believability?

And what does this say about the Gothic thereafter? Is this the reason we have seen both Gothic and Southern Gothic go “silent” in the genre?

How we got to a point in Horror where we disavow the Gothic for heaven’s sake, I don’t know. I cannot imagine. While Gothic Romance teeters on the fringe of Horror to the point it leans into another genre entirely, the straight Gothic and Southern Gothic are right here… in our subgenres…most often as Ghost Stories.

Yet no one speaks on their behalf. Not the genre, not the readers, not the publishers… and sometimes, not even the writers…

Perhaps Hill does not wish to be identified as a Horror writer, and I understand: the 1980’s left a particularly bad taste in the mouths of many readers and Critics who wanted so much more from us. Maybe we need to acknowledge the price this decade has also had on what were then “future” writers; because even I have to admit, the 1980s is precisely when I began to drift away from Horror. Perhaps the slasher/trashier sloppiness of the published writings drove away a lot more people than has been explained as fans aging out. Hill is a perfect example; she was born in 1942, writing her first novel her first year at university (which was criticized as “unsuitable” for having been written by a schoolgirl), and writing eight novels between 1968 and 1974. She wrote The Woman in Black in 1983 – just as the publishing mills were spinning gold, but not much in the way of Literature – especially in Horror.

Yet one can only split hairs so much. The Woman In Black may be Literary, may be Gothic… but it is indisputably also a Ghost Story. We can empathize with her ambitions to write “better” than what was exemplified by Horror at the time. However Hill is definitively Gothic… even somewhat in her more recent move to Crime Fiction. Since its inception, Horror has been irretrievably linked to both Science Fiction by way of Lovecraft and Detective Fiction by way of Wilkie Collins. In leaving the genre Hill (on her own or otherwise) has not really, fully left the genre…

I argue this is not a bad thing. And I hope Hill herself will come to see it.

I would say that Horror needs writers like her in it, needs her works filling out the spice rack. Writers in the Horror genre today are writing in the dark. We have no real, definitive guidance as to who among modern writers have or are shaping the genre today… we barely have acknowledgement of which writers have partially solidified the still-fuzzy boundaries of the genre. All we have to tell us are the plethora of theme-based anthologies, tribute anthologies, editorial stylings, and Hollywood.

It’s time this changed. We are just now beginning to have Literary Criticism look at the genre. We need to help Critics plow through the massive dump of writings out there… to make suggestions as a genre as to who we find to be significant influences on modern works so that future Literary Critics can take a hard look at the nominees and see if they have the merit we sense they do.

Clearly, we cannot rely on our Establishment to do this, at least right now. For whatever reason, heads are firmly planted in the sand. And with the internet severely cutting into the way Classic Horror is published (so many falling out of copyright protections so that “anyone” seems to be publishing them, leaving their rightful legacy unacknowledged by the authorities of the genre) that some very important names are not being given their due respect. New readers in the genre do not know who they are. And all too often, many are falling out of publication (where in the past history of publishing houses these authors might have been backlisted but they were still proudly available).

Meanwhile in our own genre, we are seeing a tendency toward separating the Literary from Horror, and wielding what looks like moral judgment.

In fact, the presence of so many Literary talents who also write occasionally in our genre should be a welcome thing. Naming them as part of the genre could be an educational thing — an elevating-our-game thing.

H6

When Gothic Is Horror: Is Horror Literary or Not?

After everything Poe and Lovecraft went through, and all of those marvelous essays by our genre’s writers and editors… What the hell is going on?

All of a sudden a Literary writer is not a Horror writer.

Funny. I don’t see the Establishment banning Poe or Lovecraft, two of our most Literary writers. And this means we all have a burning question for the Establishment as readers AND writers:

What do you want?

And don’t think Literary Critics won’t notice the choices being made and who is making them: Literary Critics thrive on pattern recognition…

To deny a writer because they either consistently write as Literary writers, in other genres, or even if they totally disdain our genre is totally irresponsible. By their works ye shall know them… And if that denial has anything at all to do with sexual orientation, we have and even bigger problem…

Susan Hill wrote Horror. (Sorry, Ms. Hill, but this is true. And it is awesome.)

But is this also a case of moral exclusion?

Are we again seeing a case where a writer’s personal life has colored the perceptions of our Establishment?

Especially with today’s proliferation of the internet and social media – with the amount of pure, adulterated, unfounded gossip… The very idea that Literary Criticism might be conducted with a writer’s reputation and scandal-meter in mind is absolutely horrifying. If we are, for example, excluding a writer like Hill based on the “limited” scandal of her sexuality in her time, what damage could be done to the whole of Literature if we do not firmly and immediately embrace Roland Barthes’ essay “The Death of the Author”?

If we are excluding her because she doesn’t like us, maybe we should be asking if we are like-able…Or if we are all doing our jobs properly.

It is time to put a stop to this, no matter where it is coming from. Writing, like music and any of the Arts, should stand alone, to be let to speak its truth. Knowing about the biography of the writer, musician or artist should enhance the work… not define it. A writer’s sexuality, except perhaps in its Literary influence in his or her work has nothing to do with the work.

Susan Hill belongs in our canon.

I am not a Literary Critic, so I am not sure where in it she belongs. But I DO know her writing helped bring our attention back to the ghost story. She is part of the new movement of gothic ghost story currently gaining a bit of leverage, but left to languish in the orphaned “Gothic” (which is ours and us, by the way)… writers like Canadian author Simone St. James, Australians Darcy Coates and John Harwood, and English author Judy Finnegan, and American Jennifer McMahon…

Have you heard of THOSE writers? If not, why not? We need to be asking – no – DEMANDING answers from our establishment…and we can begin by demanding recognition of Susan Hill.

To say that they are mainstream, or too other-genre, or not interesting enough is flat-out insulting. This is Horror now: we are not Poe or Lovecraft… and many of us are WOMEN… but all of us love the stories that make Horror Horror…

And that is how “trends” start… One writer at a time… with a writer who remembers the way another writer once made him or her feel…

 

Bibliography

2014 The Soul of Discretion

2013 Black Sheep

2012 Dolly

2012 A Question of Identity

2011 The Betrayal of Trust

2011 A Kind Man

2010 The Small Hand

2010 The Shadows in the Street

2009 Howards End is on the Landing

2008 The Battle for Gullywith

2008 The Vows of Silence

2008 The Beacon

2007 The Man in the Picture

2006 Farthing House: And Other Stories

2006 The Risk of Darkness

2005 The Pure in Heart

2004 The Various Haunts of Men

2003 The Boy Who Taught the Beekeeper to Read

1998 The Service of Clouds

1997 Listening to the Orchestra

1997 The Second Penguin Book of Modern Women’s Short Stories

1995 Contemporary Women’s Short Stories

1995 Reflections from a Garden

1994 The Christmas Collection

1994 Pirate Poll

1993 Mrs de Winter

1993 King of Kings

1993 Beware, Beware

1992 The Mist in the Mirror: A Ghost Story

1992 A Very Special Birthday

1991 The Penguin Book of Modern Women’s Short Stories

1991 The Glass Angels

1991 Air and Angels

1990 Ghost Stories

1990 The Parchment Man: An Anthology of Modern Women’s Short Stories

1990 Stories from Codling Village

1990 I Won’t Go There Again

1990 Septimus Honeydew

1990 The Walker Book of Ghost Stories

1989 Family

1989 Suzy’s Shoes

1988 Can It Be True?: A Christmas Story

1988 The Spirit of the Cotswolds

1987 Lanterns Across the Snow

1987 Shakespeare Country

1986 The Lighting of the Lamps

1986 Mother’s Magic

1985 The Ramshackle Company

1984 One Night at a Time

1983 People: Essays and Poems

1983 The Woman in Black

1983 Ghost Stories

1982 The Magic Apple Tree: A Country Year

1980 New Stories

1979 The Distracted Preacher and Other Stories by Thomas Hardy

 Awards

2006 Theakston’s Old Peculier Crime Novel of the Year

1988 Nestlé Smarties Book Prize (Gold Award)

1972 Mail on Sunday/John Llewellyn Rhys Prize

1972 Whitbread Novel Award

1971 Somerset Maugham Award

 

References

Barthes, Roland. “The Death of the Author.” Retrieved 7/16/2019 from https://writing.upenn.edu/~taransky/Barthes.pdf

British Council of Literature. Retrieved 7/25/2019 from https://literature.britishcouncil.org/writer/susan-hill

Kean, Danuta. Interview. “Susan Hill: I am Not Pro-Trump! Really? Do People Think That of Me?” The Guardian. March 4, 2017. Retrieved 7/15/2019 from https://www.theguardian.com/books/2017/mar/04/susan-hill-i-am-not-pro-trump-really-do-people-think-that-of-me

Mullan, John. Book Club Books. “The Woman in Black by Susan Hill.” The Guardian. Feb 17, 2012. Retrieved 7/15/2019 from https://www.theguardian.com/books/2012/feb/17/woman-in-black-book-club-susan-hill

Tanith Lee: Why Horror’s Future Depends on Subgenres — A Women In Horror Month Tribute (Part 2)


What this entire “episode” with Tanith Lee has taught me is that our genre needs to grow up…

We have enshrined the period of time which most purely and evidently exemplifies its natural growth from its original Literary DNA – the period we call The Weird. But is that time representative of The End of originality in the genre, or was it a simple (though awesome) creative burst born of circumstance, of writers who could inform each other’s work via education, exposure, or direct contact and support…and then died with them?

I say that like the Horror Boom of the 1970s and 1980s, the period of Weird was an exception – a glorious, once-in-a-lifetime explosion of insight and creativity built on a contrived and flawed premise that men write more and better Horror. And it being over means nothing more than the rest of us go back to the drawing board – after a cigarette, maybe – but back.

But it also means our genre needs to be attentive to the next creative wave, the next influencers, because the future most likely is NOT Weird. Writers like Tanith Lee who opened a wound and let it bleed out its truth along with its poison are no less formative and influential than the Weird writers. For better or worse they, too, reveal our innermost fears, our prejudices, our imagined terrors. It is because a writer like Tanith Lee wrote about gender issues in the exact way that she did, that we have welcomed other authors who toy with other previously “forbidden” subjects and threaten to open even bigger cans of worms. We have so much further to go. Why are our knuckles being rapped and our heads being forcibly turned to worship the last mutually acknowledged Horror greats? Why are we only worshipping the works of primarily white men?

Our genre needs rebellious writers – writers like Lee who rebel by their natures. We need writers who push envelopes and test our tolerance, opening the very Literary doors we claim to want to pull from their hinges. Horror must grow and change to survive. We must embrace those Literary issues we claim we want. And we must defend them even when they are uncomfortable or unsavory.

We can start by acknowledging the contributions of Tanith Lee.

 

T1

When Horror Is Literature

When we look at Horror history, we tend to see a lot of homogenization…

This is partly because the Horror writing community was smaller, more influenced by each other and what publishers would or would not publish – a social currency owned by the white male majority. But it was also because Horror has been patriarchically dominated for most of it publication history. That earliest of publishing booms which happened at the turn of the 19th century segregated our writers into two camps – one struggling to climb out of pulp into the Literary via books and reputable newspapers and magazines (led by men like Poe and Lovecraft); and one sentenced to cheaper pulp magazines where “women’s writing” was destined for women’s consumption only and made of less-permanent materials as its lesser value warranted.

This, was the true meaning, origin and purpose of what we call pulp: Critically deemed substandard written content meant to be read in the moment and tossed away because it had no Literary or relevant news value. This is where women’s Horror often wound up, along with Horror from men who might fall into disfavor by choosing to write for women, or to write the far-fetched, the unacceptable…the sensational…

So with fewer women’s writings surviving, and even fewer finding any measure of publishing or Critical success, is it any wonder that we were all left to assume that only white men wrote Horror, and the best of our genre carried a kind of identifiable, formulaic content, character and interest?

And when we look back at seminal works, why are we surprised that not only do those works have a cachet of coming from a narrow, homogenous type of writer, but that they also demonstrate a clear Critical relation to each other?

That these predominantly white male writers seem so much to have created a concise body of work is no mistake: it is what happens when writers are isolated in a singular pool where ideas are freely exchanged and respected. It is not unlike a school of writers with the same teachers and influences – because in many ways that’s what they were; writers whose successes taught each other. Yet they were also representative of a moment in time.

Each of us has one. Some of us use it. Some of us just write to see what happens.

For our genre right now to continue to look back with heavy sighs and great longing for the likes of Poe and Lovecraft is telling. It is not that those works are not worthy, but that we have mistaken a creative burst from the late 19th and early 20th century as the thing Horror was destined to be – ALL it was destined to be.

Talk about disappearing every writer that comes after…

When we consider that many of our early writers – especially Poe and Lovecraft – spent a good deal of time arguing the case of Horror being Literary to very astute and stubborn Literary Critics of the time, it comes as a disappointment to see that at the precise moment our genre has won the attention of those same Critics and our editors are hoping to groom more Literary elements in genre writing, we are stepping over authors writing about those very Literary issues.

We step over them like they are poisonous.

Is it because we are aware of how tenuous the attentions of publishers are right now? Because we are afraid we cannot risk losing a single dollar in sales? Because we are wary of alienating readers and fans whose idea of Literature is represented by a bunch of dead writers, or “issues” we have a predisposition to prefer? Is it because neither editors, publishers, nor our base has any stomach for diving head first into the pool of ugly modern issues? Or because they don’t have the guts?

Are we afraid we will “become” gay, or Muslim, or womanish, or poor, or immersed in wars, or become unChristian if we accidentally or on purpose read about those things? What exactly are we afraid of catching? Of discovering?

Horror has always had Literary DNA. Horror is always about the human condition and how we interpret and treat each other. That includes with regard to unsavory issues – especially unsavory issues.

Yet in contemporary Horror, we have a Literary desert. And it feels perpetrated. Orchestrated.

Hidden away within this whole mysterious disappearance of Tanith Lee thing are these two important questions:

Do we in the Horror genre have a “problem” with Queer fiction and open gender issues?

Do we demand and then reject Literary subjects, preferring to kill the genre rather than accept new subgenres?

At what point do we stop waiting for a bloom from the corpse of the Weird writers to rise and save Horror from itself? When do we begin looking at the issues that are disturbing modern writers in general and Horror in particular?

When it is ok to be Tanith Lee?

T2

Any writer who writes utilizing or framing issues of the day – the social, cultural, racial, class, national, religious and historical issues – that writer is potentially writing Literature. Do it often enough and they are Literary. We don’t get to qualify which issues see daylight in a writer’s work. We don’t get to hide the work that scares us.

We don’t get to hide the Tanith Lees. Not even when things are confusing enough without her.

“Her books were often rather directly queer and feminist in their appropriation of fairy tales, fantastical and perverse worlds and creatures, and narrative tropes. She also wrote lesbian fiction under the pseudonym Esther Garber and weird fiction under the related name Judas Garbah, as collected in Disturbed by Her Song and Fatal Women (both available from Lethe Press).” https://www.tor.com/2015/05/29/tanith-lee-a-brief-retrospective/

We live in a push-me, pull-you world. Sometimes we are told that Horror as a genre is all-but-dead. Other times we are told we are in a Renaissance, finally escaping the Dark Ages (which I personally believe we are). But does what happened to Tanith Lee suggest the problem is a little bit of both? I think it does.

Just as Horror from the Weird generation has changed enough to be suspected of being truly dead, Horror as an extension of the 1970s-1980’s Boom is indeed on life support; we have exhausted all of the trite, commercial and exploitative plots and themes those times spun out from that brilliant center of storytelling. We have to be honest: at the end we got sloppy… desperate… cheaply gratuitous. There were very few good novels issuing forth at the same time publishing began to take Technology body blows – and at the same time (it was later theorized) a chunk of our fan base had aged out.

So much began to collapse all at one time: publishers, periodicals, editors, brick-and-mortar bookstores, newspaper with their book review columns, library budgets, education in the Liberal Arts, the field of Literary Criticism… It was a perfect storm. And everyone in the genre in every position in the genre was left to sink or swim, to figure out what it would take to survive. As the bodies began to wash ashore, one thing became crystal clear: what once worked no longer worked. Change was going to have to happen if the genre was going to survive, let alone prosper.

As a genre it was a sobering, pocket-patting moment. There was so much carnage, we resorted to counting our own body parts, too distracted by the fear for our own survival to protest the hemorrhaging of midlist authors and the death songs of editors and publishers everywhere. Some might even venture to say that this is why Tanith Lee seemed to vanish, why publishers ceased to publish her, and why we had nothing left in the tank to protest.

But that is a cop-out. With the Horror ship going down for the third time, we clung to writers like Stephen King, Anne Rice, Peter Straub, Clive Barker, Ramsey Campbell and Richard Matheson to save us all. That Tanith Lee used to be among that solid-selling list and then suddenly was not is what is noticeable. Even with her cross-genre dabbling, her control of the Gothic left trails of cobwebs from and to our genre. Why let go of a writer who consistently proved an ability to bring home the Horror bacon?

And is it because she started writing about Literary issues before we fully accepted that as a blatant, fully stated goal in Horror? Or was it the issue she chose?

We have to start asking these questions seriously in the genre. Accepting such writings does not make us an LGBT genre. But it does create a necessary subgenre… I mean, if we are going to be really serious about this Literary thing…Because even Literary Critics are – you know, those stuffy snobs we believed for so long were trapped in a Shakespearean tomb? Even THEY caught on… and they are the engine on the Literature train.

T3

The Rise of Queer Theory: Can We Get There From Here & Why It Matters

Ok. So the subject matter is discomfiting for many. Imagine if you will what it is to live it.

This is why Queer Theory is one of the newest of the New Literary Critical Theories…because it is an actual issue with actual human consequences and casualties; it is the newest twist on our understanding of the human condition. But what is it exactly?

Queer Theory is specifically derivative of women’s studies, gender studies, and LGBT studies. The subsequent origination of what is called Queer Theory is a “new” Literary Critical theory created in the 1990’s to analyze LGBT (or “queer”) Literature – because it goes further and in different directions than its cosmic twin, Feminist Theory. It is called Queer to identify that the area of Literary Criticism dealing with Queer fiction which includes all LGBT concerns. It looks at the cultural and societal and religious roles played in affecting the LGBT population, and all areas of its suppression involving characters, behavior, plot lines or themes. But is it also about the indistinct borderlands in which many of us live.

Tanith Lee was one of our first Horror authors to get there, and to decide it should in some way inform her fiction because it affected her:

“Lee was asked about her recurring theme of ambiguous sexuality. She told the Innsmouth Free Press blog, ‘I think ambiguity intrigues me generally. Not just the hard-drawn line between male and female heterosexuality and lesbian/gay desire, which hard line may waver in the most staunch of the ‘straight’ or the ‘homosexual’ — but the shadings between wickedness and normality, evil and the divine. The state of human life and the god or demon within. The constant internal war that being alive can conjure.’” (https://www.advocate.com/obituaries/2015/05/26/remembering-tanith-lee-celebrated-author-queer-science-fiction )

Wickedness and morality. Evil and the divine. Gods and demons. What part of Horror don’t we get?

But of course this new recognition by Critics does not guarantee either popular acceptance, nor that of publishers and editors. In fact, we see a rise of territoriality happening – perhaps some of it genuinely with good intent to protect the integrity of some genres. However, we also need to see the forest for the trees. The existence of an LGBT character – even as protagonist – does not make that story exclusively Queer Fiction. It may be also Queer Fiction. But what if it is also Horror or another genre?

Answer: then it is a subgenre.

Why is that so hard? If the emphasis is so Literary, so unquestionably about the experience of being LGBT, then the overarching and dominant character of the work is LGBT Fiction. But just LGBT characters? Characters wrestling with issues while frolicking with monsters? A way to twist plot or extort confusion? No!

We have maniacs in hockey masks and folk who like carving up lost teenagers for sausage in our genre repertoire. Never once have I heard these described as “suspense” or “thriller” or “psychological” fiction…Is that because it is all gratuitous and two dimensional? Why is cannibalism ok, but an LGBT character a direct sentence to Queer fiction, an expulsion from our genre and many others?

I think sometimes we are not capable of seeing patterns and hierarchy, happy to export any writing with a gender question into its safely contained, separate-but-equal “Literary” box… Just like we do with writers of color, because God knows it happens with other minority-voiced works, which suddenly become “Literary concerns” instead of Horror because “their audience is too small, too niche,” too burdened with social accoutrement…

Again: that is subgenre. But it may still well be Horror.

Why are we jettisoning perfectly good, Literary writers to Theory-driven categories?

Why, indeed, when we are demanding writers master Literary-worthy Craft? Then dinging those who actually dive into Literary issues?

Is our Establishment actually willing to say that if a story has “too much” Literary content, is too “controversial,” that is cannot be Horror? That therefore…pardon me… Horror is not Literature after all, if it “has to” include LGBT issues, race issues, women’s issues, or class issues? That acceptable Horror is contingent upon acceptable norms?

Is that REALLY what you are saying real Horror is? Then aren’t you ALSO saying Poe and Lovecraft were wrong and Literary Critics got it right the first time? And to be Horror is to be hack?

Because if our genre is not willing to grow with our population and its changes and cultural spurts, then its death is inevitable.

Our profiled fan base is shrinking, because the rest of the population is growing on without us.

T4

Still Tanith, After All This Time

Horror is a big genre.

Every once in a while a trend will be born and flower and awe us all. Like the Weird (of which Tanith Lee was once generally considered a writer), those creative bursts humble every one of us – living on in immortality to torment writers and editors and haunt Critics. But they truly are just a burst of light.

We have to learn to let go. We have to be willing to look elsewhere for the next Poe or Lovecraft, for the next creative cluster, probably currently rejected if history is any indication. We cannot abide that. Our genre is not so deep in foundational authors and works that we should allow the ostracism to continue.

What happened with Tanith Lee could be debated, what with all of the Horrors we have been drowning in since Amazon rose from its industry-killing ooze.

But we should not ignore the obvious: the very real possibility that we are afraid of real Literature reframing our genre, that we fear one theory or one issue will rise up to hijack our future and change our audience the way we seem to feel everything we cared about in the world has been changed.

But isn’t that progress? Didn’t we tell all of the minorities and cultures we swept out of our way that in order to flourish ourselves?

Why not then as a genre? Why not go there in American Horror? In British Horror? In world Horror?

When exactly are we ready to shed the mask?

T5

Alas, sexuality remains different, somehow more personally threatening.

“Faces Under Water is an alchemical supernatural thriller, set in a parallel Venice about 1701. Its hero is a very enraged and lost young man who is, in a way, acting as a detective in this water-girt city, and he comes across the most bizarre alchemical plot. In the midst of this is a beautiful woman who suffers from something which we have in our world: her face can’t move. She can’t show any expression, and she can’t talk. She can’t even blink or close her eyes. It happens at a time of Carnival, when everyone wears a mask – but her face is the mask...” (Tanith Lee) http://www.locusmag.com/1998/Issues/04/Lee.html

Is that the real reason we hide behind Lovecraft? Are we afraid of what moving on means in our tiny primal minds? Are we taking it personally? Running away when we should be embracing the variety of voices? The new monsters? The forgotten folklores? The old gods?

As scary as change is, stagnation is terminal. Are we ready to say “better dead than subgenres”? Do we really think we can stuff the genie back in the bottle? Clearly even stodgy Literary Critics could see the answer to that one…

Thank Cthulhu for Tanith Lee. We have proof that we once ventured out on that very Literary limb…before we got all paranoid and banished her to – of all things – Literature.

Writers like Tanith Lee represent gateway writers in a genre – ones whose work leads to even more exploration of topics or plots or character… to potential growth in new directions.

I believe Tanith Lee performed that function in Horror, her control of “ambiguities” leading us to try and then fully embrace a writer like Anne Rice (with her assortment of religious crises, amorous male vampires, erotica and adventures in B&D sex clubs), and then later to “forgive” a Clive Barker whatever imagined sin we previously ascribed to him…to accept a Gerald’s Game for the sake of the Horror…

I believe that Tanith Lee deserves a place in our canon as it becomes established, that Literary Critics need to bookmark her works for serious analysis as foundational for the 1970s and 1980s work in our genre. I hope that they will remember her when they go building our canon.

Tanith Lee planted seeds. And I can hear them growing.

Don’t you want to see the blooms?

T6

References

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 from

https://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

 

 

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?

TL1

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)

TL2

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

 

TL3

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?

TL4

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.

TL5

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.

TL6

1947-2015

“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

 

References

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

 

Shushing the Dementors: Should Writers Speak Outside of Their Writing?


These offensive political times have created some very interesting conversations.

Take the recent one I overheard at my bookstore, wherein two people (one male and one female) discussed the continuing tweet-commentary of J.K. Rowling with regard to the U.S. President.

He: “She needs to just shut up and write kids books.”

She: “I agree. I’m not even sure I want her books in my house or my kids to read her.”

He: “She needs to stay in her lane. She’s not even American. She doesn’t have any business commenting on our President.”

Way to display your ignorance of the true nature of Literature… and in a bookstore, of all places…

 

JK1

The Proof Is In Our Literature

It is easy to feel overwhelmed by the classics. But the reason we are overwhelmed is because no one ever points out to us that Literature is all about multiple meanings. It is made that way, designed to reach more people, and then to curl up in the mind and inspire serious thought upon revisiting it.

Typically, there are three ways from which to view Literature as a reader.

One is to just read the surface story and follow the characters through the rise and fall of plot. Reading this way is escapist, and light, although in classic Literature it will also seem too often curiously slow-paced and frequently laden with boring passages that we will then skip with a shrug.

The second is to look curiously at themes and symbols, to notice the odd repetitions and to make light associations with other stories or fairy tales and to vaguely sense an indistinct atmosphere like humidity on a cloudy day. Sometimes we write our English papers on these things, and while the teacher is pleased that we saw them he or she is often disappointed that we don’t know what to do with them.

The third way to read Literature is to actively read and re-read passages if not the whole story, turning it like a Rubik’s cube in search of what the writer is really trying to say…looking at word choice, at repetition, at atmosphere, at social constructs, at every single thing…and then looking again. It is much akin to studying poetry, which also thrives on containing multiple meanings for multiple readers and multiple readings. And then reassembling it…seeing the power of the whole. And being amazed, bewildered and awed by it.

Literature is on a mission. There is a point to it…a purpose. And only by viewing it through the three different lenses mentioned above can we begin to see it.

But what one-lane critics don’t want you to know is that this is the lifeblood of Literature: oppression.

You will find it in ALL great literature, because you will find it in all great Writers…casting its shadow on their work.

JK2

And that means you will find it also in male-generated Literature as well – even he-man writers like Ernest Hemmingway, whose works are portraits of men who struggle against the “brutal ways of modern society” which threatens their sense of hope and faith… (https://www.nobelprize.org/nobel_prizes/literature/laureates/1954/hemingway-bio.html)

Writing Literature is always about what it means to be human… and how it is to live with the flawed rest of us in the shadows of our own faults.

Literature is also always about injustice…about missed opportunities to understand each other.

JK3

What person can read Dickens and ignore the treatise about the brutal effects of poverty and social stratification on women and children and men of the underclasses of Victorian London? What person can read Dickens outside of his work and not hear the man behind it all?

Or Charlotte Perkins Gilman and the classification of all women’s ills as mental and peculiar to her gender?

Or Louisa May Alcott and her commentary on women writers and women’s choices in the beloved classic Little Women?

Or Fyodor Dostoevsky with his observations of sociopolitical upheaval in 19th century Russia?

Or Gabriel Garcia Marquez whose collective works reveal the times and conflicts of living in Latin America?

JK4

Literature is only and always about commentary on socio-political issues of the day – even and especially in Gothic Romance, in ghost stories, in virtually all women’s fiction…and thereby a hefty chunk of Horror.

Should we really be surprised that the women writers behind even modern fiction should be outspoken? It’s not like writers of the past have been reticent wallflowers.

Who we classify now as Literary Writers of both genders in their times were not mute.

They most certainly did talk about their writing, about issues of the day, about social and cultural faults, about politics and the failures of society and religion. They – as celebrities – felt compelled to speak out against injustices when and where they saw them. And as writers they could not remain silent in their prose or in good conscience.

That writers should be cardboard cutouts of what we imagine them to be, that they – especially when they are women – should “stay in their lane” and not to reveal themselves as human beings and dare to speak their conscience is not only petty misogyny, but a peer pressure attempt at oppression, and pure censorship, a violation of the right of free speech.

It is also a blatant revelation of the speaker’s own ignorance of the Literary Tradition…

And of writers in general… Because to comment on the injustices and flaws of culture is not just our impetus, but the thing that makes us writers and creates the very bones of our selves.

Writers are observers. We have an obligation to speak when moved to do so. And we are not obliged to only speak in code, in symbols, in double entendre.

It is also not a requirement that we do not offend. We were built to offend. To make others think. To make others see. To jar others awake…

And we are obliged to speak up just like any other citizen – whether we are male OR female – when we are outraged by what we witness.

JK5        

https://onehundredpages.wordpress.com/2018/01/19/the-madwoman-in-the-attic/

About That Attic

Sometimes I think what disturbed me most was the male commentary that day in the bookstore, even as the woman’s words distressed and disappointed me.

As a writer, I don’t care if you read what I write or not. I’m not going to stop writing, or change what I write. But what I do care about – especially as a female writer – is the tendency to divest women of their right to express their opinions especially if they are critical of an “alpha” male, to threaten banishment to The Attic.

As a rather newly minted feminist, I have only just begun to wake up, to realize how much, how thorough and how long the suppression of women’s opinions have been. And the knowledge has left me a bit rabid…I am thinking it should.

Because silence is to condone…to enable…to facilitate…to be COMPLICIT.

And women who agree with the status quo to ingratiate themselves to those they perceive to be Divinely led or in power are also COMPLICIT.

The sad thing is it tends to be right under our female noses. But we are raised to acquiesce, to mend fences, to be seen and not heard. It happens at home, often enforced by our own mothers and reinforced by our fathers, and further drilled into our self-awareness by the educational system which still tends to choose boys who raise their hands over girls.

The fact is that women have long been told to “shut up.”

And historically those who did not were beaten, incarcerated, placed in mental asylums, locked in attics, drugged, disfigured, raped, and often killed. It still happens in some parts of the world, and those of us blessed to be living in countries where the worst we suffer is employment discrimination, housing discrimination, public humiliation and proud, loud statements that we should just “shut up” most certainly do have an obligation to not only speak even louder, but to do it for and with those other women facing more severe penalties.

Most assuredly there are consequences for such speaking up – especially as a woman – because unlike men who are told they are just “wrong” women will be labelled as insurgent, lesbian, ignorant, unpatriotic, mentally unfit, and witless hormonal puppets of their biology.

Speak once and a woman becomes a label.

But we are all of us (writers included) human beings first. Worse, we are thinking human beings. We cannot undo what the creator has done. But we can most certainly comment on it when what humanity does with its gifts turns our souls inside out.

We not only have the right, but we have the obligation to speak out against injustice when we see it. Silence or speaking is a personal choice. But choice is our right as people.

Censorship is the tool of oppressors. Oppressors see life in lanes, and strata in society. No man or woman should “shut up” if their conscience drives them.

 

JK6

Stupifyed

About those tweets…

For those who so love the Harry Potter franchise, one has to say you must then love something of its author, and she is indeed to one degree or another Literary. As such, she is (by commenting on whatever she feels like) living up to that very nature.

Sure you could demand your children never read writings by such a writer again…But then you would be missing the point of Literature…all three of them, in fact.

Don’t want to put money in her pocket to endorse her opinions? Fine. She no longer needs your money. But you ought to weigh the importance of debate, of disagreement, of the possibility that you might be wrong after all…Sometimes writers do get it right…

Think you can change the truths of what she might be saying by not purchasing her work? Too late: that fantastic beast is already out of the bag. Many of her truths are already in Harry Potter.

Think buying her work endorses her actions? Well, you didn’t read her work the second or third ways yet, did you?

And besides, how many times have you bought crap from Amazon no matter how many American and international jobs it has cost? Let’s just stop being hypocrites, shall we?

JK7

Right now – at this very moment – we get to see how Literature shapes us and we shape it. We get to see real people standing up to Power Brokers in Real Time, dismissing the potential personal consequences to communicate their own opinions. Sometimes that means catching a tweet and being surprised, angered, or amused. But that is what free speech and Literature is all about — generating conversation.

We see it because writers like J.K. Rowling do speak up about issues that they find disturbing.

That has nothing to do with lanes. It has everything to do with freedom.

JK8

Should that include commenting on other nations’ governments? Dear God, YES!!!

We live in a global village. There is absolutely no escape.

(Well, unless you want to unplug the Internet, reverse technological gains, and return to the Good Old Days where the fickle finger of despots and dictators could disappear anyone on a drop of mere gossip, innuendo, outright lies or rumor.)

I said it before. Writers are people first. And people of merit, of position, of respect…including artists, writers, actors, musicians who by the nature of their life’s work ALREADY comment on such – have not only the right but the obligation to speak up especially when the meek need a prod of the conscience, or when what happens on one side of the pond threatens to spill across borders and affect other countries and their political decisions.

Tweet, J.K., tweet.

Those who would hang labels on critics and stuff “loud” women in attics would do well to mind the consequences of what they are using their freedom, their status in society, their political currency to say.

Freedom to criticize is an American staple.

How dare WE who have that right use it to suggest any other human being EVER shut up.

Tweet, J.K…..Tweet like the wind….

 

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J.K. Rowling

✔ @jk_rowling

J.K. Rowling‏Verified account @jk_rowling Jul 3

Tweet: hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha *draws breath* hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha https://twitter.com/realDonaldTrump/status/1014257237945176071 …hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha *draws breath* hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha https://twitter.com/realDonaldTrump/status/1014257237945176071 …✔ @jk_rowling ‘pour’ hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha

Where Have All the Zombies Gone? (the Dawn of a New Monster Era)


Truth be told, it is hard for this generation of Horror fans to remember a time without Zombies. Yet such a time seems to be upon us.

Rather abruptly (and some may think at last), the Zombie Craze seems to be fading.

What does it all mean?

And perhaps the more interesting question is – if your Literary senses are tingling –what comes next?

For those too young to remember, there have been other monster-dominated decades…and to fans of Literary Horror, such changes in Horrors represent changes in our times, our societies, our very self-image. More than any other genre, Horror “represents.” Horror is the spirit of the times…the Zeitgeist of who we think we are. And as such, these monster transitions can be very telling.

In Literature, Horror plays a unique and indispensable part. Horror mirrors our social and cultural failings: it is our dirty laundry, hung out for the world to see. And it is meant to awaken us, to inspire change.

Our World history and our regional histories are decorated by the monsters of our choosing. Pay attention: THIS is how Literature moves in Horror…

Because even if you don’t think your genre is speaking loudly in Literary terms – even if you “just” read or write pulp – monsters have historically been stand-ins for what scares us the most.

And what scares us the most – is humanity itself.

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Growing Up Zombie: the Decades of American Disillusionment

It came at the end of the Reign of Vampires: the rise of the Zombie and the apocalyptic visions of a world we were clearly eager to see end.

But for Literary watchers, it also came coincidentally during the tenure of the George W. Bush Presidency – a time (2001 to 2009) when the United States was shaken rudely awake from its American Dream, “given more real life strife than it had seen since in the 1960s, including two very long wars in Iraq and Afghanistan, destruction on the home front in the form of the 9/11 terrorist attacks, plus massive natural disasters like Hurricane Katrina, and the global economic meltdown [of] 2008…” And the subsequent Zombie movie milieu “fits in perfectly with these aforementioned national and world events because it functions on two levels simultaneously. On a literal level, Zombie movies concern rampaging monsters that want to eat your flesh and/or brains. But on another, more metaphorical level, these movies focus on the collapse of the familiar infrastructure that maintains our high-tech civilization.” (Muir 159)

This was a rather unpleasant rousing from our previous Literary monster decade – the Vampire Era – which seemed like a lazy summer reverie in comparison. Those were the times born of the Summer of Love and spurred by gender rights and sexual liberation. And I can’t help wondering if there must have been something about those amorous Creatures of the Night which pissed most of us off – or finished doing so – in order that we were willing to exchange Horror’s most beloved monster for something more like ourselves.

That’s right: we are the Dr. Frankensteins, creating the monsters in our own image. And therein hides the Literature.

The Zombie says a lot about us. The Zombie tells the world how we felt from the mid1980’s onward: like we were all being marginalized…like we were undervalued cogs in machinery that had swallowed us whole…like nothing of ourselves was valued or mattered. We began to see ourselves as hapless, unwitting victims. Conspiracy theories and suspicions of everything from our own neighbors, coworkers and government rose from the ashes of immolated Vampires. And we got angry.

It is no small coincidence that the rise of the Zombie coincided with the rise of Technology. In fact, the last time a monster rose in such a way to represent us en masse was during the Industrial Revolution when it was the Ghost who came to envision how we felt – like we were truly rendered dead and invisible in our own time…like the world suddenly lurched forward without us…like it didn’t even have the courtesy to wait until we died before burying us in time-stamped irrelevance.

During the Ghost Era we saw so much suddenly slipping through our fingers – some of it wrenched heartlessly from them – seizing our sense of spirituality and subsequent order of our universe and replacing tradition with an unsettling, rapidly changing uncertainty.

Literature abounds with examples of the heartless separation of humanity from a more acceptably paced march forward. Everywhere people were awakening as if from a stupor to find change unfettered, science dominating, the human touch in life left cold and uncaring. In the Ghost Era, we discovered we could no longer live the lies. And women’s voices rose in chorus to name the sins, spawning the Golden Era of spectral fiction that still today informs us strongly of that time in history.

It was not long after that our genre began documenting our own shock at the world around us…and all manner of Horrors and deceit and human tragedy was rendered in Horror form. From the psychological Horrors of Poe to the alien monstrosities of Lovecraftian nightmares, our genre continued to narrate the changes we all encountered, the fears we hid and the resentments we nurtured.

 

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https://tulsaballet.org/dracula/

In fact we had tried on many monsters on the way to the Vampire (a constant infatuation throughout our folkloric history) – including the Mummy, Frankenstein’s monster, and the Wolfman – all in the attempt to make sense of self-discovery.

So when the Vampire came along again in the 1970’s to tease us about our sexual indiscretions, our Sexual Revolution and search for gender identity, the threat was more subtle…less encompassing… and certainly left us employed and believing what we did and who we were somehow mattered. It seemed a pleasant, if not superfluous distraction, its latent threat more shadowy. With the Vampire, the illusion that all was still well – just different – predominated. Not so in the Zombie Era.

When the Zombies rose, it was an apocalyptic moment. It was a sign that while we were sleeping, something had gone terribly wrong.

Much like the Time of the Ghost, the rise of the Zombie represented our minimalization by those we had trusted – a betrayal that wounded in private places made horribly public.

We had become mindless cogs in someone else’s machine. Our days grew from nine-to-five with weekends and holidays off, to 24/7/365…instead of eight hours including a lunch it became eight hours or more plus another for lunch, plus accommodation for breaks, plus longer and longer congested commutes, plus forget holiday pay or overtime, count yourself lucky you still have a job…plus fund your own darn retirement…and insurance…and education….

Worse, we now had jobs (many times multiple ones) instead of careers. And at any point, anywhere along the way anyone from a politician to a coworker could take it all away with a single fib.

We had trusted, invested, and committed. And we were summarily robbed. Unbeknownst to minorities and immigrants, the betrayal had at last reached all the way up the ladder of entitlement…We were – all of us for that moment in time – equalized by an impending sense of doom, poverty, ill health and despair.

The world as we knew it and had relied on with its haphazard, unequally applied rules, was indeed ending.

And so the Zombie rose…hungry for mindless vengeance to supplicate mindless anger at a mindless society which eviscerated us without apparent care.

Because the Zombie is all about humanity, according to John Russo in his foreward to The Walking Dead Psychology: Psych of the Living Dead, “about human beings, with all their good qualities and all their bad qualities, having to fight for survival against tremendous odds and daunting, soul-deadening destruction…[and] how we may rise to the occasion when we are in extreme jeopardy or how we may fail.” (xvii)

So this Zombie was different than any Zombie that came before.

Simply rising from the grave with a need to dine on brains wasn’t nearly enough to satiate our fury at what was happening in the world – at what was happening to us.

This new Zombie did not rise alone, but rose in hordes….walked in herds…swarmed like hungry locusts to purge the land of all we had built.

And we were different too – we who survived the first onslaught to fight the menace. WE rose as well…grabbing guns and bats and crossbows and swords and hatchets… We fought back in unspeakable violence – so much so that we shocked ourselves.

In earlier versions of the Zombie, the Zombie was the Horror. In this one, it was not only how the Zombie comes to be, but the hideous violence that we ourselves inflict on the Zombie that is the real Horror.

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How Furious Are We? ZombieLit…

As in the Industrial Revolution, the Technology Revolution has disfigured our ability to see ourselves out of it, and we cannot separate this newer revolution from the human carnage of today. Now as then we have experienced massive job loss, massive blows to our loyalties, our sense of worth, our very identities. Talk of retraining the masses has been a lie for most of us; and when thousands of jobs are replaced by one or two, that leaves a lot of us free to stew in anger.

Unfortunately, we are not very creative when we are reeling in personal pain. How angry are we?

Just look at what we have undone in the United States with one rebellious presidential election. Because this is what is going to inform our Literature for the next few decades…

This is not about liking or disliking a president or American politics. This is all about the surfacing of major divisions that have been simmering beneath the surface of contentment and “progress” in our country and the world at precisely the same time Technology has completely reshaped how we interact with the world, how we process TRUTH and FACTs and understand what we ARE or ARE NOT entitled to…

Rather than fix the problems our own greed has created, we have chosen the old default in a time we should know better: to blame the Other.

This is why the Zombie has gone away…

The World as we knew it has ended. And no amount of tantrum-throwing is going to fix things. Yet far too many of us fear our own adulthood. We search for blame and make it up if it suits our purposes.

We have become exactly what our enemies have been calling us.

And it wasn’t the fault of a political party or one black President. It was the fault of our own insatiable greed – the greed to be better than our own neighbors, to keep our own job even if it meant hundreds of other people losing theirs, if it meant pretending it was their own fault for not being bright enough or lucky enough to live and work where the Tech Revolution had not yet reached its suffocating tentacles, to bestow the title of Too Big To Fail on an irrational, select few.

Now that job loss and identity compromise has begun to hit the last of the holdouts – the ones who belittled the evisceration of millions of their own countrymen and -women – NOW there is a crisis.

Now bonking Zombies with a hatchet isn’t enough and is no longer funny. It is no longer sufficient. Because it DIDN’T WORK.

Because it is the upper classes, the wealthy, the alleged job-makers who have risen unscathed from the death threat… Surrounded by hordes of Zombies too oblivious or too greedy or too fearful themselves, these ever self-wealth-replenishing masters of the universe cannot be reached. The boss you dreamed of walloping over the Zombie head or eating the brains of is safely in the bunker he had you build.

Anger is no surprise. Blaming the Other is the disappointment.

Most of us had so hoped we were beyond this…

It is a sad fact of humanity that when we cannot get at the real problem, we get at the one we can reach….the convenient one.

And sometimes we are so, so angry we are willing to divest ourselves of important things in order to release that anger in mindless vengeance.

This is how a country like the United States begins rolling back human rights. This is how we rationalize doing so.

We are so brainwashed into believing that only the rich – in their wondrous, pure humanity – have the capacity to save us, that we forget we saved ourselves by forming this country in the first place. We forget we gave all future generations the tools to save each other.

We treat the Other like those Zombies – rending them limb from limb without the slightest human compassion all in an effort to vent without biting the hand we are told feeds us.

How soon we all forget….

We forget the Native American code-talkers that saved us in one war, the African American soldier that (forgiving the rest of us our judgment of them) shared our fox-hole in another, the immigrant soldiers who fight the same enemies in our name in order to participate in what used to be the world’s greatest Democracy, the foreign nationals who have given their lives or risked them to stand beside us, the Asian Americans who have built our infrastructure – not once, but twice over now, the gay Americans who have given us incomparable culture in unexpected ways, the American woman who has fought her own battles while defending those that cast long shadows on a mutual future, the Founding Fathers who without remembering to define what a “man” was freed forever what the definition of a “man” would be…

For certain our history has not been neat. But at least we could claim a percentage of ignorance in and of our own times. This – this new monstrosity rising from the ashes of the Zombie Apocalypse – is being resuscitated in the full light of day.

Where we could excuse ancestors for misinterpreting, for doing the best they could with what they had and what information they had…This time it is on US.

This time it is on PURPOSE.

For those gleefully waving the bat, the flag, the hatchet and the noose, there will be no forgiveness by your descendants. The stain here will be too great to cover with lies the rest of the world can already see through.

That any of us would STILL resort to blaming whole peoples for our own errors in judgment, our own misplaced trust, our own unwillingness to remake and reinvent ourselves is just plain indefensible.

We are lazy.

We are greedy.

We are selfish.

Way to make the terrorists of this world look right. Because now that the Zombie is dead, something else will rise to take its place.

I am betting on the Werewolf.

z4

Not The Good Old Days, Howling at the Moon

Chances are, if the Zombie was different this time around, so will the Werewolf be. In fact, the “Modern Werewolf” has already done some serious changing – slipping away from the simple, unfortunate nip in the moonlight to become (like the Vampire) an empathetic creature.

According to Nathan Robert Brown in his book The Complete Idiot’s Guide to Werewolves, “Werewolves are no longer depicted in exclusively negative or evil light. In fact, modern pop culture has embraced the werewolf as a rebellious antihero. Similar to modern-day motorcycle gangs, they move and hunt and live and die as a pack, and they live outside society’s rules. Pack law is the only law. In the last century, werewolves have been embraced by every medium of pop culture. They’ve become major figures in literature, films, art, comic books, and even video games. In America, urban legends about werewolves have sprung up with increasing frequency over the last 50 years.” (109)

I don’t know about you, but I see a lot of our modern outsider, rebel political factions right there. I hear the phrase “silent majority.”

Here we have a creature that cannot control its fury, who while in “human form” cannot fathom the carnage it creates, who cannot remember its animal behavior (which is far too convenient to ignore here), and who hides among the rest of us undetected, and for whom the end justifies the means. Like a mean drunk justifying his or her actions, everyone and everything else is responsible for the ensuing bloodshed – real or imagined.

Remember the last election? Yeah, I don’t know half of the people I thought I did, either…

But what I do know is that the Werewolf always denies he or she is a Werewolf – because that would be a horrible thing to be.

So they become in their own minds – if Were-anything – Werepoodles, I assume.

Where once they were unfortunate, hapless victims themselves… now with a kind of mental Photoshop, they are free to remake themselves into vigilantes – heroes of the state, the arm of popular justice…the same ones who say it is better to execute an innocent man now and then than miss one single guilty one.

And as we learned from the Zombie Apocalypse, there is safety in numbers…

Instead of being an isolated case, now we have Were-communities.

Like the Vampire Mega-Covens and the Zombie Hordes before them, we no longer think in singular terms….This is about survival. So what if other people think we are wrong to become a monster rather than cease to exist: they aren’t here with us.

Besides. They can’t get all of us if we swarm them, and if there is more than one of us, we are in the right…right? And if collateral damage happens, it cannot be helped…what can one person do in the face of the rise of Hell itself? The Devil made us do it…sure it looks like me, but it wasn’t me….I was just following the pack, the will of the people, orders….

For some of us, the familiarity of the excuses makes the hair stand on end, the hackles rise, our own fangs bare…

Like the Zombie Apocalypse before it, this new Horror is all about the Little Guy surviving the end of all reasonable things. And that means your neighbor may not in fact be your neighbor…but something else….something come to destroy all that the Zombies left of you…

And so what if the Werewolf is US? Or a spouse? Or a relative? Or a boss?

Forget the blood dripping from their lips….look at all of the STUFF they get to keep…

And if you keep feeding them Others, they might leave you alone.

Except they won’t. They can’t help themselves. They are sociopathic predators. You aren’t them. They are better than you.

Beware of Dog. Because like the Zombie Apocalypse, it is most likely not you who will survive. Once the carnage starts, we are ALL meat.

Read any old Werewolf story. Read what happens to the victims of the Werewolf.

In its animal form it can barely stop itself from devouring what it loves in its human form.

Do you want to take that chance?

How’d ya do stopping the Zombie Apocalypse? The Industrial Revolution? The Tech Revolution?

This is going to take more than Wolfsbane.

All of us better be prepared to lose some flesh.

Because if the Werewolf is back, we have to remember that as much as we once valued the human form, we are going to have to put the animal down, because indeed we might not be speaking of folklore anymore…

What cannot be trusted, what randomly and wantonly and indiscriminately destroys what we have – all of us – built, cannot be suffered to live and thrive and reproduce.

Horror “represents…”

Get your silver bullets. There will be blood. And this time, it will most likely be justifiably our own.

z5

References

Brown, Nathan Robert. The Complete Idiot’s Guide to Werewolves. New York: Alpha Books, c2009.

Muir, John Kenneth. Horror Film FAQs: All That’s Left to Know About Slashers, Vampires, Zombies, Aliens, and More. Milwaukee, WI: Applause Books, c2013.

John Russo. “Why Don’t They Die?” Foreward. The Walking Dead Psychology: Psych of the Living Dead Langley, Travis, ed. New York: Sterling Press, c2015.

Scandal at the HWA: How Big is Too Big?


It may seem peculiar, but I go long periods ignoring the Horror Writers Association.

It’s not really a big mystery: I don’t belong to the Horror Writers Association, and I confess, I have no professional interest in it.

While some may say it is because I have not been professionally invited (not having sold the “easy to achieve” $25 in professional sales – a statement, by the way, I contest and protest), it is more than that. After years of watching the HWA, I grew to dislike the cachet of the association.

And after a recent attempt to visit the HWA website to “see what’s doing” among the “Professionals” (a somewhat annual task I perform and one which typically leads to my quick exit with an eye-rolling angst), I discovered that scandal – yes scandal – was brewing. Had brewed. For the last two decades.

And I missed it. The question is: should you?

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What’s On YOUR Resume?

Now, it is important to note than any organization with the sheer numbers of membership and length of existence as the Horror Writers Association and which manages its history without a major public scandal is doing pretty darn well.

And it is also important to state that any organization of this breadth and depth is also the mirror of every other governmental entity it is fashioned after – responding to insinuations or outright accusations with denial, defensiveness and eventual action. Typically, such an organization seems to move at glacial speed when immediate speed would be better for all. And perhaps that is why the scandal (as it were) took wing at all.

Then again, important accusations were made.

And if you are a writer whose goals include becoming a member of the illustrious HWA, or if you proudly already include it on your resume, perhaps you should make yourself aware of the observations of malcontents and decide for yourself. Because if you are a writer, you should not only have principles, but stand by them. And if you join an organization, any hint of scandal or complicity becomes all yours by association.

As a writer, critical thinking goes with the territory.

This means you take nothing for granted – especially the more sensational something is rumored to be. However it also means being aware that one is responsible for one’s own decisions, and that sometimes those decisions carry consequence.

There was, in April of 2016, an eye-opening post from established writer and Bram Stoker Award winner Brian Keene titled, “Why and When I Will Begin Boycotting the HWA (UPDATED x3)” at http://www.briankeene.com/2016/04/13/why-and-when-i-will-begin-boycotting-the-hwa/

I was astounded to find a legitimate laundry list of unsavory allegations with regard to the operations of the HWA since the early 1990’s.

In this case, the scandal is really about an observed and disturbing pattern of behavior noticed by some members who objected strenuously enough to them to distance themselves permanently from the HWA.

And while some might call them “mere” allegations, these allegations are no joking matter.

They include allegations of embezzlement, and assertions of inaccuracies and inconsistencies in prestigious award nominations, as well as those which include abuses of trust, the breaking of organization by-laws, exposure of the membership directory to a known stalker, and adulterated awards voting process, missed office elections, and more (according to a blog post by author Brian Keener). And they are – to some folks – serious enough in mere allegation form to warrant not only disappointment, but to generate real professional differences in what is acceptable, forgivable, and even forgettable.

I am thinking the HWA should be adult enough to handle that, and would wish dissenting members well in their departures. And then perhaps would also take a serious look at how the ivory castle might be viewed by outsiders looking in…at least for the sake of the future and its future members. And while officers of the HWA did respond to the allegations AND the post, one cannot help but also feel a bit underwhelmed.

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http://beforeitsnews.com/alternative/2018/02/trey-gowdy-says-adam-schiff-obstructed-justice-in-attempts-to-block-courts-from-releasing-fusion-gps-3592352.html

 

There inherently remains a professionally imposed chasm… a qualifying of complaints, as though only “approved” peers of the HWA might have legitimate opinions, or may voice concerns. It is that ever-present sense of superiority that clings to the HWA which is not only hypnotic, but strangely repellent.

For example, as an occasional visitor and potential member, I have always felt “dismissed” by the organization’s public face, a consequence of that persistent and elitist tone. Whether the HWA is right for the genre or for other people, I cannot say. I can only say it is clearly not right for ME. Keene’s observations only confirmed the existence of ghosts I whose presence always seemed to loom large behind the professional tone of the organization.

These are not ghosts which should be exorcised with denial. Rather, they should be met with apologies, and revised procedures, with real attempts to mend fences.

So I find Keene’s comments vitally important –especially to writers like myself who (for whatever reason we are not widely published at the moment) are left feeling uncomfortable at best with our impressions of the HWA.

Says Keene of his catalog of allegations: “The list is to demonstrate that somewhere along the line, the train came off the tracks and it has remained there, regardless of which administration is in power. I stand by my assertion that it is important to list these, as it demonstrates a pattern. And as Jeff VanderMeer said on my public Facebook page, ‘ I’ve had nothing to do with HWA for more than 15 years because of the pattern.’ The pattern is the entire point.”

I mean if our patterns of being unpublished writers matter…

Sometimes an organization becomes too big to save. The question is: is the HWA there yet?

Sometimes such an organization becomes everything it claims to warn and fight against. And when that happens, leaders within that organization have only themselves and their own hubris to blame.

And then in November 2017, there rose the spectre of the sexual harassment dismissal of a prominent writer/editor discussed in the post of blog File 770 titled “Horror Writers Association Bans CA Suleiman from StokerCon” authored by Mike Glyer at http://file770.com/?p=38766

As a female writer of Horror, this comes as no real surprise, but a real disappointment… and yet another item to join Keene’s list of HWA public relations  and image problems.

And while the HWA has taken steps to correct the trajectory of such damaging allegations, they are a large organization and large organizations typically wake up late and under-achieve repairs in their attempts to be fair but litigiously aware.

For many, it just feels like too little, too late.

In self-defense mode, they do not see what outsiders see.

We have in this latest “scandal” an oblique- though-Science Fiction writer’s view of an HWA casting couch. One has to wonder, how long has that been there. But then, don’t we all really know?

Isn’t the lack of the elevation of women writers in our canon and the almost total lack of writers of color tell that tale?

Having prestigious female editors – no matter how accomplished – does not make up for that, and I will tell you why: if female writers or writers of color cannot get published in the handful of “acceptable,” HWA-approved,  sometimes-appearing-in-literal-print magazines, they do not get paid that “easy to achieve” $25 minimum in sales to warrant membership in the HWA, which in turn limits further acceptance in publications, which in turn limits nominations to or acceptance by HWA-sponsored or infused awards, or Best Of publications.

The drowning of real voice continues. The banishment of dissent is complete.

And if the officers of the HWA are slow to rise, or are inadequate in their rising to act on such patterns, such accusations, such scandal…doesn’t that in itself suggest that the HWA has perhaps made itself obsolete?

I would hope not. There should be something salvageable in a noble purpose…

No, I would hope that it is all about wariness of legal reprisals.

But for the world it looks like too much tolerating of an obnoxious and unwelcome relative at the holiday gathering. It looks, smells, and tastes like complicity.

And it looks like arrogance.

 

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https://www.tumblr.com/search/nuclear%20wars

The HWA & the Future of Horror: What’s In It For You?

I want to make clear I am not seeking to participate in the “bashing “of the HWA, but I do agree with many of its critics that we all need to be paying attention here, because they have the reputation of representing the entire genre.

I think the idea behind the formation of the HWA was not only honorable, it was timely. And I do think that in their own way and at least initially with good intentions, the HWA has thought itself to be the best bet for the genre to offer a guiding hand if not a guiding light as to how the genre can grow itself, sustain itself, and monitor itself.

However I also think that power corrupts, and that the bigger a group gets, the harder it is to truly vouch for the reputations and honor behind its members and their actions. I do think it is possible for such a group to become too large to be serviceable to its original mission statement, and I do think the capacity for ego-led behavior to become self-endorsed increases the more exclusive and elitist the group makes itself.

The HWA was founded by writer Robert R. McCammon in 1984, a writer of the 1980’s boom times who had the foresight to see the genre needed a sense of direction.

Precisely at this time, Literary Critics were starting to founder under the weight of the 1970’s explosion in publishing of all genres and the internal discussion of the inadequacies of either Literary Critical Theory, contemporary writers, or both. The ability of Critics to help guide professional direction of national writers was simply overwhelmed. The capacity of the public to “weigh in” on a book’s popular value and potentially its quality had begun to erode the very concept of an “establishment’s” authority.

For those reasons, the HWA was needed as a mitigating source of information and recognition.

But with the onset of the Internet Age, the bomb-throwing began, and the victims are not only publishers, editors, Critics, booksellers, and writers – it is also those organizations like the HWA that are taking it in the teeth.

The simple fact of the mere size of the organization that may be a contributing factor to its undermining by scandal. But leadership cannot escape the taint of its members’ misbehaviors, nor absolve themselves of their own sins.

Because where ever there is absolute power, there is also the potential for just such a group to decide it is running things – all things – having to do with the genre. They can drift in their moral imperative until they become a parody of what they intended.

When that happens, it is typically accompanied by the sensation (and then the declaration) that they are responsible for the inherent production of all quality work in the genre, that they are the rightful judges, juries and executioners, and that they are entitled to omnipotence, to proper deference…

But I say that because you are fortunate enough to find a professional paycheck in traditional publishing, mentoring by old school traditionalist editors, and/or the promotional luck of traditional publication… this is not qualification enough.

Many more of us would have joined those ranks long ago if traditional publishing had not undergone an evisceration of its way of doing business to begin with. For those of us in the genre who would be interested in becoming editors, professional writers, or working anywhere in the old traditional system, the door is firmly closed and locked. Permanently.

To claim our unemployment and lack of mentorship means we neither have the dedication, the talent, or the value of those who benefitted from that older system is a dangerous fallacy to launch in the genre.

And I say, you are not Literary Critics. Therefore at best, you think yourselves better.

In a few decades, Critics will let you know the truth of it.

But I digress…

When it comes to being a Horror writer, there has – for many years – been nothing more prestigious than the credential of belonging to the Horror Writer’s Association. For some, it means a second look by editors, perhaps a qualifying reason to be considered in an anthology or a contest or an award, and always a validation of belonging…

There is also a titillation and ego-stroking moment when one considers that not just anyone can belong to its exclusive membership. Certainly there are now (after either pressure, financial incentive, or both) associate-style memberships – the chance to lay about on the periphery with one’s nose pressed up against the glass. But I am talking bona fide membership with all of its promised perks.

As a writer, one must weigh whether this is what one wants or needs on one’s resume. And while many novice writers are star-struck at the possibility of sharing community – even if it is in another room of the same house – with the likes of the Stephen Kings of our genre, hobnobbing with famous editors, and potentially sharing a publisher with someone special – one really should think about what joining means.

Oddly, writers are not typically joiners. So it is to me amazing that like lemmings, the HWA is the cliff we are naturally expected to flock to. To desire. To covet. To lust after.

Perhaps this is because I simply do not. In full disclosure, I have no interest in the HWA.

There is nothing personal in it. I simply want to do whatever I do on my own merit, free of fetter, rebelling against my own people-pleasing gene by not-adding more people to please. And my ego is just fine, thank you, without any stroking or promises of inside knowledge and secret handshakes.

Part a very important part of the reason I chose to abstain from pursuing the goal of HWA membership (of any kind), is that I have seen and read essays on the website which I found to be dictatorial, harshly critical, and elitist in tone.

And while I am familiar with the “editorial voice” (which conversely, many editors in their very tech-writing kind of thinking is bare-bones and to-the-point, void of sugarcoating and razor sharp in its directness) completely fail to hear themselves… What I read was – at least to me – patently arrogant. They included rants and polemics about the audacity of the unpublished to call themselves writers, about the absence of concern for quality or craft, the invalidity of online magazine publications, the conceit of self-made publishers and the self-published, the self-aggrandizing pats-on-the-back…

For an organization overseen by professional, traditional editors and writers we are led to believe embody the Establishment, the lack of listening to one’s own tone or the arrogance of thinking such a privileged position is ultimately validated either by years of experience or personal position in that very organization is flat-out offensive.

Furthermore, the constant redirection of our genre by way of the HWA’s endorsement of conventions, awards, publications, publishers, writers, contests, and literary-style criticisms seems to present a conflict of interest. By their heavy artistic influence, are they not dictating the very future of our genre instead of being a forum for diversity and growth? Shaping what will be allowed to see the light of day?

While I don’t mind reading opinions, when those very opinions are not only cloaked in the guise of the HWA’s official “position,” but wield unfettered the Sword of Publication and Awards… well, things look subversive. Contrived. Controlled.

I see such overreach as a way to manipulate the type of Horror we see being published – as just another version of the Good Ole Boys’ system long lambasted about by the very writers and editors and publications the HWA is supposed to represent. When we limit the number of editors and slap a definition on “established” authors in the genre, I believe we limit the genre.

 hwa4

https://twitter.com/maggiejank/status/668053570638364672

 

For example, we look to the HWA for our Best Of anthologies, for rankings of Horror publications, and Horror editors. We also tend to only see criticisms of independently published or self-published works and self-publishing authors – because those HWA editors and publishers and writers are the ones getting the readership boost of traditional publishing. This leads newbies to the assumption that all things flow through the magic hands of the HWA, or they are renegade, unendorsed rebel works of little or no merit.

For example again, it is from the HWA that we have seen a consistent criticism of contemporary, non-HWA writers and their works. These are the writers and works (we are told) which do not conform to craft, genre conventions, or literary standard. This is (we are told) what is bringing our genre down, ruining the genre, giving everyone a bad name which Literary Critics have been complaining about.

But the HWA – like MFA programs everywhere – are ignoring what else the Literary Critic is saying: we have too much repetitive drivel pouring out of published Horror. We keep reinventing FORMULA instead of story.

(As an under-published, unknown Horror writer, you can leave me and my work out of this. But you cannot exempt the HWA or MFA programs, or traditional publishing. Sorry.)

Literary Critics don’t have the time to troll the waters of us lesser-knowns, of small press publications, graphic novels, and comic books. What they are looking at is the Big Names of contemporary Horror and all of their followers… at the very traditionally published which the HWA spends so much time lauding above the rest of us.

And regardless of the status and glory of those Big Names, Critics are not at all happy about the (perhaps) better written Horror they have inspired, because as any reader can tell us, the storytelling is just not there and we are still consistently missing the Literary mark as a genre.

We do not improve that by making a Professional Writer’s association more exclusive with a centralized star-making power machine.

We do that by educating our writers earlier…when they are still in elementary and high school. When we actually separate writers from readers and teach elements of CRAFT.

We do that by getting our hands dirty. By trolling about in pulp and bad writing and honing rusty skills, milking the story-telling gene until we rediscover how Literature works within the subtext of our genre. We do that by random publication of stories in cheap magazines, by recreating that fertile field of creativity and writing mills that enabled stars like Lovecraft, Poe, and even Stephen King to rise to prominence.

I personally do not see that endorsed by the HWA. And what I have seen or sensed, has led me away from any interest in the HWA.

The bottom line is that whenever you trust groups of people, those with subversive agendas will eventually ruin everything – or attempt to. You should always look carefully at groups and professional organizations before you join…perhaps even hang back and study them and their doings for a while.

Ask questions:

  • Is the administrator/president someone who has been around awhile, has developed a reputation, and is someone with some kind of verifiable experience or track record?
  • Is there more than one way to find or contact this person?
  • Do you have enough information about the group to reasonably find it again if contact paths go silent?
  • If you submit work, is there some sort of arrangement in place to ensure that it is not shared without your permission? And how is it disseminated and handled if rejected?
  • Do you know other members, trust other members, or are you among the first members?
  • What are the net benefits that you receive as a member, and are they worth your trust?
  • Are you asked to pay dues, and if so, what do you get in return?
  • Is there legal accountability in the organization?

If you are joining a writers’ group, there is an element of trust you have to be willing to extend – especially if it is a critique or professional group. As the administrator of a Horror writers’ APA, I suggest you not only ask the above questions, but that you participate by monitoring your first work exchange or submission within the group – how it is received, processed, handled, and/or returned. Are you treated with respect? Is your work treated with respect? Is the end result not what you want – but what you need?

You have the right to the assurance that someone is taking reasonable responsibility for the protection of your reputation and your work as a member of that group – even if it is the HWA, and especially if you are paying dues.

I truly believe that being an officer of a group of writers is a position of trust – not a reward or proof of popularity, wisdom or righteousness. There is an inferred and innate obligation to look out for both the organization and the writers within it… to guard the mission.

If the HWA can’t or won’t do that…if it is too icky to handle scandals and accusations, maybe members should wonder where their money is going.

Isn’t it supposed to be about the genre? And isn’t that by default – you?

Some writers won’t mind the fallout. Some will decide to join the HWA despite any hint of scandal in the hopes that they will only have great things happen as a result. To them I say, bon voyage. Just go in with your eyes wide open.

After all, no one ever plans to be the victim of misadventure.

 

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https://www.ctvnews.ca/canada/canuck-the-crow-flies-off-with-knife-from-crime-scene-in-vancouver-1.2918801

 

  

Greater Rocky Mountain Horror Writers APA welcomes writers of all stripes and levels, currently at no cost. Visit our recruitment and club webpage at https://grmhwapa.wordpress.com/