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

 

 

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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….

 

JK9

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

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?

 hwa1

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.

hwa2

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.

 

hwa3

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/

 

Why Is Mary In the Attic? Frankenstein & the Challenge of Authorship (An Open Salon Re-Post)


(In this Women-in-Horror month re-post from my defunct Open Salon blog, “The Horror” originally published on February 16, 2015, I want to share with you a second case of Literary gender assault which I referenced in the previous post. This is a real “controversy”… a debate, and a Critical argument being discussed in academia and elsewhere. What I ask you to do is to read this post and ask “why” it is even being entertained…)

Most women who write and read Horror are used to the idea that it is predominantly men in the driver’s seat of our canon. Most of us are fine with the works chosen to represent canon. After all, we girls have Mary, author of Frankenstein. Yet a closer look reveals the very real reason the arc of feminism has risen through the Critical ashes: because several “someones” have been trying to put our Mary in the attic since the publication of Frankenstein.

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“…the first edition published anonymously in London. Mary’s name appears on the second edition…” https://www.pinterest.com/pin/83387030570722338/

 

How many of know that there is (even today) a theory which postulates that the real author of Frankenstein was Mary’s husband – Percy Bysshe Shelley and/or any combination of he and his Famous Writer friends?

Why? Because a decent woman should not and – more importantly – could not write such a critically acclaimed work…especially a woman of nineteen.

This is hideous – even for our genre. Because what message does this send to young women writers of Horror? What does it say to writers of anything?

For those who have read my prior posts about Literary Criticism, this is where Roland Barthes and his dead authors meet the pavement of reality. We and our Critics need to think very carefully about how much biographical minutiae we really want to require in Literary Criticism, and how much it matters. We also need to recognize that if we do decide that biography is relevant, that – well, quite literally in this case – what’s good for the goose is good for the gander…

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Conspiracy Theory

When one thinks of revising Literary Criticism, theories of conspiracy are not among the typical fare. Indeed, having any Critic of merit present such an argument – even in light of his times (and Critic was a man’s job in those early days) – flies in the face of modern Critical giants like Roland Barthes (1915-1980) and his own theory about the importance of keeping dead authors dead.

This theory that a large conspiracy took place to make Mary the author as a cover or a joke by a group of male poets and essay writers dredges up a Need-to-Know everything one can about every author and the circumstances of the birth of a work. It heightens the importance of copyright and the genesis of intellectual property, it takes the focus off of the work and the message of the work and makes it all about the author and the author’s times.

Is that really why a writer writes? So that Critics can thrash about in one’s personal and private existence and air the most intimate details of one’s life with the written work left as a mere afterthought? Is it really all about the writer? Do we want it to be?

One has to ask those questions and be prepared to answer them if one is equally willing to entertain the idea that Mary Shelley is our modern “who was Shakespeare” mystery.

One has to look at the motivations of all of the parties involved in such a conspiracy theory– including the very Critics who allege and support that a conspiracy was afoot. This started – after all – during a time in which decent women certainly didn’t write beyond invitations to social events and demure correspondence… and most definitely didn’t write like that (except that Mary’s own mother most certainly did). In fact, decent women were not to think at all about the world or its complicated subjects; it was not the place of women to speculate on the doings and the motivations of the doings of men. If it wasn’t about placating their husbands, raising children and looking pretty, about decorating the patriarchal parlor, proper ladies did not do it.

In such a world (argue conspiracy Critics), how could a nineteen-year-old woman with three illegitimate children to her credit write a work like Frankenstein – right under the noses of famous Romantic Poets like her husband – Percy Bysshe Shelley – or his friends also allegedly present that night in Lake Geneva– none other than Lord Byron and his personal companion/physician John William Polidori, who was also a published essay writer and who nurtured his own professional writing aspirations (Hitchcock 26-27).

Isn’t it more likely argue those Critics that such talent would have emanated from professionally established Writers and Poets? Didn’t Shelley himself admit to editing the novel in question?

Forget for a moment that “no poet of any renown would write a novel; no elevated person would stoop to read one” (Hitchcock 25). Forget the “shock” that “a popular poet would descend to write a novel, a new and not altogether respected literary form” (24). What would be the point in publishing it at all? If it could only be a professional amusement between poets, why drag it out into daylight? To put one “over” on the Critics?

Such would seem an awful lot of work with a serious risk of discovery and subsequent damage to a poet’s reputation… all for a giggle. Even given the indiscretions of youth, as well as the Idiot Gene that we all have encountered at one party or another, what is the likelihood that these young men would toy with their own tenuous reputations?

But Percy Bysshe Shelley admits to editing the work…He was present that night and many others…isn’t it at least feasible? Possible?

Many Critics thought so. Susan Wolfson and Ronald Levao state in their introduction to The Annotated Frankensten:

“Confronting a novel propelled by male adventures and transgressions, saturated in the languages and ideas of Milton, Coleridge, Wordsworth, Godwin, Byron, Shelley, and contemporary scientists such as Davy and Darwin, a novel, moreover, known to have been shopped by Percy Shelley, many reviewers assumed that the author was male – probably Shelley himself, or some other deranged, atheist Godwin disciple.” (53)

Perhaps we should pause here a moment to refresh. Frankenstein was written in an estate house (Villa Diodati) at Lake Geneva once rented by Milton in 1638 (Hitchcock 24), Coleridge, Wordsworth and Byron were publishing contemporaries of Shelley, Byron was a friend and present during the alleged contest, the “atheist Godwin” was Mary’s father, and London newspapers of the time were publishing tales of “galvanism” in which Luigi Aldini “toured Europe during the first years of the nineteenth century, demonstrating how electrical charges could move not only the legs of frogs but also the eyes and tongues of sevred ox heads as well (Hitchcock 33).

All of these things would have had influence on our Mary, who at one time recalled “how discussions of at Villa Diodati of these scientific marvels had filled her with ideas” (34). Indeed, “poetry and science, Gothic horror and reanimation—these topic tingled in the Geneva air that summer of 1816”…(34) How could they not influence any imaginative, thinking young adult? But more interestingly, how could they influence only the male members of the Geneva party on that night of nights?

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Shelley versus Shelley

I say these conspiracy Critics must be fair in their use of historic and biographical detail. What Percy Bysshe Shelley was exposed to and influenced by, so was his wife.

Some may feel the need to “compromise” by saying that the possibility of editing by Shelley would indicate that he at least co-authored the novel… to which I ask, where are the residual checks for the editors of Harry Potter or Tolkien?

Editing is not writing. Editing is about organizational and compositional guidance. It is about streamlining the flow of consciousness, the application and follow-through of logic and the rules of grammar. It is not creating…it is shaping the created. It is about dressing up a story in its finest attire.

And indeed Shelley admits to “editing” the work and Critics have long complained that his influence is indeed “obvious” and that “the manuscript shows assistance at every point…so extensive that one hardly knows whether to regard him as editor or minor collaborator” (Wolfson & Levao 11-12) – which is in itself if true a sign of poor editing – and that while his hand in the novel improved some technical quality, it also threatened the integrity of the novel in places where he clearly insinuated himself (Wolfson & Lavao 54).

Does that not imply that it would have been a far different novel had Shelley written it? Or is it merely evidence of … editing not by a professional editor?

Distinguished Professor of English Literature, author and essayist Anne Mellor says something important in her review of the evidence. Mellor, “while acknowledging Percy’s improvements on several levels—from grammar and syntax to narrative logic, ‘thematic resonance,’ and the ‘complexity of the monster’s character’ – also notes Percy’s own missteps: rhetorical inflations and Latinizings, a penchant for imposing ‘his own favorite philosophical, political, and poetic theories on a text which either contradicted them or to which they were irrelevant’ and revisions that distorted Mary’s intentions and ideas [my emphasis]” (Wolfson & Lavao 54).

And isn’t his admission that he functioned as agent, and both his and Mary’s admission that he functioned as editor(Hitchcock 70-73) good enough for conspiracy Critics?

If not, one should look at supporting evidence; for example, despite the loss of the original draft manuscript, what of the copytext manuscript which “argues very strongly against’ the story of Mary-as-scribe “(unless it is an elaborate hoax that they [Percy’s advocates] and their conspiring friends cooked up to fool future scholars)” (Wolfson & Levao 54)? J.W. Polidori confirmed Mary’s “busyness” the “day after” her inspiring reverie, and the only surviving “draft she worked on shows a lively and affectionate relation between the older published poet and his talented lover” (54). Some might say this is merely more evidence of those willing to contribute to conspiracy. But at some point, one would have to be willing to suspend an awful lot of logic.

Furthermore, it would seem that if this document could be used or cited as evidence against Mary as author, then it should also be evidence for Mary. In fact, for Critics who accept Mary as Frankenstein’s author, it is this and other existing documents that bear the greatest weight:

“Here appear numerous local rephrasings in Percy’s hand, most (but not all) retained in the publication of 1818, occasional teasings of Mary about some of her habits of style, and a few ideas about local plot developments. Although Percy was an encouraging, attentive reader and a caring adviser, Mary’s primary authorship is confirmed by documents (letters and memoirs) containing comments from everyone who knew them – Byron, Leigh Hunt, Claire Clairmont, Charles Clairmont, Godwin – that refer to her working on Frankenstein and regarding the novel as her project” (54).

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And why does this Critically intense scrutiny of the author – if the rightful author were Mary, stop at calling her a nineteen year old woman? Where is the acknowledgement of her professional pedigree, upbringing and present company?

Her parents were well-known writers and activists – William Godwin – a philosopher, publisher and social critic, a “brilliantly popular writer in the 1790’s,” her mother Mary Wollenstonecraft, a feminist and author of A Vindication of the Rights of Woman, both parents being acclaimed novelists and essay writers (Hitchcock 27)). Our Mary had been writing since she herself was ten years old, had been a reader in her father’s vast library, the lover and wife of Percy Shelley. Her entire life had exposed her to the arts and the writing community along with the likes of Samuel Coleridge, Blake, Keats, Milton and Lord Byron to fuel her imagination. She was a daughter of activists coming of age during the rise of the Gothic, surrounded by poets and philosophers.

Now place her in the times of rising technology – the era of electricity and science. Place her at those contemporary and surprisingly common séances and lectures on the possible reanimation of corpses. See the arcs of electricity that were common affectations of lighting demonstrations and the rise of the Gothic period in literature, the rise of the Victorians as social culture.

Now remember what it was like to be nineteen. Remember the raw emotions, the primal fears, the easy way in which monstrosities rose in the imagination and dreams came vivid in their visitations in the night. If you are a writer, remember how rich and tactile an experience it was to write at nineteen. Remember the ideas? Remember how easily monsters came unbidden? Remember the perverse joy of Horror?

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Then consider what it must be to witness the death of a child, to be surrounded by infidelities, disinheritances, public scrutiny, suicides, the endless pursuit of creditors, children birthed and dying out of wedlock… to constantly try to hide or disguise the decline of wealth, to be young and in love as passionately as you are afraid of the changing tides of your times. Imagine all of this in your primal imagination on a dark and violently stormy night with the reading of ghost stories and the ultimate challenge of writing one of your own as a contest of youth.

Consider also what it was to be nineteen in 1816. Life expectancy hovered around 40 years… (http://homepage.ntlworld.com/davidjstokes/1800.htm and http://longevity.about.com/od/longevitystatsandnumbers/a/Longevity-Throughout-History.htm) This means that even a morose teenager had some measure of right to be contemplating death and its meaning, because our Mary would have rightfully assumed she was at middle age.

Consider to be wrapped in all of that, and to be a writer. Consider the company she kept—in fact, visit the world of the Romantic Poets for a real taste of the Gothic…

Even using the very rules of conspiracy set about by those anti-Mary critics, one has to acknowledge that Mary had the necessary background – the chops as it were – to have done the deed herself. She had motive and opportunity.

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Mary, Mary, Quite Contrary

Many modern Critics admit that Frankenstein was Mary Shelley’s finest work, that much of her subsequent novels (and yes, she most certainly did write other novels) were lackluster by comparison, seemed somehow distracted and not as focused. But our Mary was also widowed by then, and lost even more children to untimely death.

Try writing novels and not having real life impact your voice and plot. Try being a woman with a complicated reputation in those times. Try keeping a roof over your head.

Perhaps the pressures of being a woman, and a writer, and the possible author of a work like Frankenstein weighed heavily – even like a burden upon her.

Then if all else fails, look at Harper Lee, who it was once said believed that she had nowhere to go but down after the success of To Kill a Mockingbird. Truths do not matter. What matters is what the writer believes when she is writing.

How do we know why Mary’s other novels were not as successful? How do we possibly get in her head?

Again, I say that Roland Barthes is right: we don’t belong in writer’s heads. We as Critics or readers don’t have a right to their history. We need to appreciate the work as the work.

Maybe we don’t even have a right to know for sure that Mary Wollenstonecraft Shelly wrote Frankenstein. But she said she did. Her husband said she did. All of the people who were there that night at Lake Geneva said she did. They have even found peripheral information – letters, journals, etc. corroborating those very claims – from people who knew the players of the time. No one alludes to a conspiracy but those odd, dissatisfied Critics who believe a woman of nineteen could not have possibly written a work of merit – especially if she were married to an established writer, a man of position...

How incredibly sad. And how incredibly bigoted and sexist.

It is for these very types of reasons that women in Horror today feel skeptical of the publishing machinery that makes canon fodder of them and meteoric successes of more men than women in our genre. We have to question because there are just enough idiots out there to give us cause.

Case in point: every biography of Mary Shelley includes mention of the controversy, mentions the one idiot doubt of her authorship of the work known as Frankenstein. The disenfranchisement of her work has become associated with her very history and tainted the wondrousness of the novel itself. The only male author subjected to the same scrutiny is Shakespeare. (My, Mary, what good company those skeptical Critics have put you in….)

And to the Critics who believe that a nineteen-year-old could not possibly write such worthy stuff, I say that Percy Bysshe Shelley was not that much older, and gee whiz look at H.P. Lovecraft and what his childhood nightmares did for him. I say quit trying to make controversy where historically there is none.

Quit trying to shove Mary in the attic.

We need young women writers in Horror. We need them because they become old women writers in Horror. We need them for vision and the carelessness and impetuousness of youth. We need them and our canon needs them.

The birthing of Frankenstein as a novel is one of the most documented and argued cases of inception we can summon into argument. How it came to be, when it came to be, why it came to be and a list of all the pedigreed witnesses to the birth are available for anybody who wants to do a little research and reading. Ultimately, there is little foundation for supporting the theory of a conspiracy; it’s not only unlikely, it’s just plain weird.

So get off her. Let her breathe. Our times and modern Critics are busting Mary out of the attic prison sexist Criticisms have attempted to make for her. And there are bigger reasons for leaving it to rest than Conspiracy egos can support. Bigotry has had its time, its opportunity, a socially constructed stage upon which to prove its allegations. Nothing came of it except one important truth:

She’s our Mary. She is the rightful birthmother of Frankenstein. And we as readers and writers of the genre couldn’t be more proud or defensive of her right to be. No matter who she was married to or partied with on one dark and stormy night.

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References

Hitchcock, Susan Tyler. Frankenstein: a Cultural History. New York: W.W. Norton and Company, c2007.

Spark, Muriel. Mary Shelley: a Biography. New York: E.P. Dutton, c1987.

Wolfson, Susan J. and Ronald Levao, eds. The Annotated Frankenstein by Mary Wollenstonecraft Shelley. Cambridge, MA: Belknap Press of Harvard University Press, c2012

 

Girly-Girly Horror: Daphne Du Maurier & Gothic Romance (Because It’s Women-In-Horror Month)


For most of us who read and write Horror, there is an almost automatic tendency to cringe when we hear the word “romance” associated with our genre. Even with blockbusters which have encompassed the one-time popularity of amorous vampires to taunt us, we of the Horror genre prefer the more suspenseful, monstrous-scary kinds of relationships in our fiction.

Romance, we insist, is a whole ‘nother creature – one we banish happily to the Harlequin aisle. Romance is girly-girly stuff.

But not so fast. Because if one really embraces the genre we have come to associate with psychos and monsters and a host of demons and witches, then we must embrace our beginnings in the classics – including our beginnings in the medieval romance and folktale fairy princesses which begat the Gothic Romance and Gothick (so christened with the ‘k’ by writers like Victoria Nelson to differentiate “new” Gothic from Medievally inspired Gothic ) subgenres which lead to where we are.

It is Gothic Romance – the provenance of writers like the Brontë sisters, Jane Austen, and one Daphne DuMaurier – which put Horror on the map (and in particular, the Literary map).

Forget what you think you know about romance. Because it is these ladies who put the paranormal into romance and laid the groundwork in setting and characterization for a lot of modern Horror.

If you want to understand and appreciate our genre – especially including the role of women who contributed to its modern shape – you need to read Gothic Romance. And I suggest strongly you start with a book called Rebecca.

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Girling Up Horror All Over the Place

For most of us, our exposure to romance left us covered in a kind of gauzy, glittery, pink-fairy-wing kind of stupor, or drenches us in the stereotypes of bodice-ripping erotica. It is far too saccharine for our Horror tastes. But that also means that we have had our heads turned by pulp romance, which – not unlike pulp Horror – is a subgenre that caters to a specific audience. Before and alongside that type of romance is Gothic Romance – tales that leak in sinister designs from drafty castles and isolated manses, tales that reek of the supernatural and dark, dark secret histories.

It is at once a genre of deft flexibility, and perhaps that is how and why women writers so expertly and effectlively took charge of it.

Explains Greg Buzwell in his article “Daphne Du Maurier and the Gothic Tradition”:

“Gothic fiction possesses a remarkable ability to reinvent itself. The sublime landscapes and imperilled maidens of Ann Radcliffe’s The Mysteries of Udolpho (1794), for example, seemingly bear no relation to the city streets and macabre body transformations of Robert Louis Stevenson’s Strange Case of Doctor Jekyll and Mr. Hyde (1886) or to Henry James’s psychological ghost story The Turn of the Screw (1898), and yet all three tales are, undeniably, Gothic. Regardless of their entirely different storylines and settings all three share the traditional Gothic qualities of a disturbing atmosphere, a carefully described landscape and setting, a sense of the uncanny and the impression that events are out of kilter with the rational world.” (Buzwell)

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Change, as we have seen even in our lifetimes, is survival for fiction. It has to move with its readers in order to move its readers.

This is something we see regularly in Horror: monsters evolve, ghosts change tactics and motivations, monsters drift between human origins and supernatural ones. This has to happen or our audience becomes too sophisticated, too conditioned to be easily disturbed, our stories flat or trite.

It is an easy conclusion in hindsight then, that “Romance” was doomed to change, and that the Gothic period of writing would bleed from real world wounds, from actual histories being lived by the readers the stories were being written for. We forget that stories about the 1800’s were once “modern” and that readers understood first-hand the travails of their protagonists.

But this is why Gothic Romance evolved from its more straight-forward origins. Readers of the 1700’s and 1800’s could only identify so far with medieval times and cultural constraints. Readers always tend to look for stories written with them in mind, preferring their habitual devouring of story pressed through a prism they can at least imagine; readers need to see themselves in fictionalized tales.

Gothic Romance descends from stories wrought from the romance languages, making use of medieval tales of knights and ladies in distress. Where “Romance and Gothick” are not (according to the critic Northrop Frye) “two separate literary movements, one high and one low drawing from the same sources, the Gothick should be regarded as the foundation of the Romantic” (Nelson 97).

But change happens slowly, unevenly. There were writers – female writers of the Gothic – writing well before Gothic Romance became fashionable. They wrote in lesser known publications for women, and their names are harder to remember, their works harder to find. Unfortunately, it far too often takes writers with the panache, style, and timing of J.K. Rowlings and Jane Austens to awaken fame, fortune, and opportunity for others.

With the deft pens of writers like Charlotte Brontë, whose work Jane Eyre was the main transformative work to lift The Castle of Otranto (also considered the first true modern Horror story) into what we see as “modern” Literature, the genre of Gothic Romance exploded onto and all over the publishing scene, borne by the imaginations of women who it appears, saw things a little differently.

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In her book Gothicka: Vampire Heroes, Human Gods, and the New Supernatural, Victoria Nelson asserts that men and women write Romance differently, and with the rise of Gothic Romance, women transformed the genre by refashioning the protagonist and the conclusion of early romance into what has become coined “the Female Gothic.”

Formerly, male writers were wont to write tales in which “[a helpless young woman is pitted against] a devilish villain whom she is going to be forced to marry (The Castle of Otranto [by Horace Walpole]) or who forcibly ravishes her (The Monk [by Matthew Gregory Lewis])

“In the female-authored Gothicks that followed Walpole, in contrast, the single heroine (whose point of view we usually inhabit) escapes the villain’s clutches and marries the young man. Where the early male Gothick writers, drawing directly from the medieval romance tradition, used a faux-medieval aristocratic cast of characters, the women Gothick writers frequently introduced a bourgeois female protagonist into the mix. Where male authors favored supernatural elements, female authors – most famously [Ann] Radcliffe herself – like to titillate their readers with ghostly, chill-inducing phenomena before revealing the human agency behind them.” (97-98)

And with the advent of this new perspective and the emergence of publishing venues for women and their readers, the Gothic Romance was unleashed. Gone was the tendency toward the male-favored tragic ending, and in came the more female-friendly happy ending. But along with the surge in female storytelling, came the disfavor of Literary Critics of the time.

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Long seen as sensational, overly sentimental writing, it took writers like Jane Austen and the Brontë sisters to capture Critical respect. Says Nelson:

“Literary critics have not been kind to Gothick romance. Fred Botting has dubbed contemporary women’s romance ‘Girly-girly Gothic’ after Mark Twain’s label ‘girly-girly romance’ for the identical literature of the nineteenth century. Traditional Gothick scholars and literary critics alike have delivered scathing and condescending critiques and commentators have noted the continued low status of the women’s romance in mainstream culture despite being statistically the most popular literary genre.” (106)

Enter Daphne Du Maurier, a woman whose most preeminent work, Rebecca, has sold well over 3 million copies, some 4000 copies per month since 1938 and has never gone out of print (House), yet who could not in her lifetime garner the least Critical respect (facts to which today’s Stephen King fans can relate).

For far too long her work was considered “standard” women’s fare, and not in the same class as writers like Jane Austen and the Brontë sisters; and one must recognize that the Curse of Bestsellerdom is an enduring one – one that has been around as long as there have been Literary Critics who cannot fathom the fickle passions of the masses.

Far too often it takes decades, if not centuries, after an author’s death for Critics to reconcile knee-jerk reactions to sales figures with what is really going on in an author’s writing. Recounts Greg Buzwell in his article “Daphne Du Maurier’s Rebecca Taught Me How to Love Literature”:

“In some respects Daphne du Maurier was a victim of her own success. Her prose was so smooth, and her stories so packed with incident, that her gifts as a storyteller often overshadowed the more serious aspects of her work. It is only when you look beyond the surface polish of her stories that you begin to notice her brilliant and eclectic use of Gothic imagery.” (Buzwell)

Still think you haven’t heard of her?

Ah, ye of little faith, O Horror Fans…she is also the author of one of Horror’s most iconic stories, tagged (and therefore probably misremembered) as “Alfred Hitchcock’s” The Birds…

GG5

Author, Author

All too often we have our attention directed to authors acknowledged and endorsed as Canon Greats, and we tend to not question the absence of a name here or there, as though there is a kind of security or gilding of the Critic’s lily in propping up “established” theories of Literary evolution and the roles certain authors allegedly play in it.

We shy away from those labelled “popular” or “mainstream” authors as thought their contributions are somehow less valid, less impactful. And we often do this whenever there is the slightest whiff of controversy – too often assuming that the lack of a Critical voice to say otherwise somehow legitimizes the exclusion of an author in the discussion of genre.

This tends to happen historically most often to female authors. And while we are getting better at deflecting such tendencies, we do little to clear the air of suspicion for deceased and historically significant writers as though to do so will cause our own reputations to be sucked into the vortex of unsavory scandal – or worse, will make an enemy of the Literary Critic/academic community.

Daphne Du Maurier is just such an author. Despite numerous accusations of plagiarism during her career – all of which reached legal resolution in her and her publishers’ favor, the cloud of disgrace associated with those defeated claims continues to disparage her reputation and deprive her of her rightful place in genre history.

Legal confirmation of her innocence is a matter of record. And yet Du Maurier is seldom mentioned with or within genre references and Critical essays with any regularity. It is as though she is being disparaged as a “girly-girly romance” writer – a pulp writer – a sentimental sensationalist instead of what she was – a Gothic writer who strongly influenced not only Romance, but the Horror and Suspense/Thriller genres.

It is time that changed. And Horror should be the genre coming to her defense. Both Rebecca and The Birds were genre-changers for us, building directly upon the psychological terror platform of Edgar Allan Poe.

But it is also time for modern women in Horror to demand Critical engagement in such circumstances as the accusation of plagiarism – not only against Du Maurier, but also against Mary Shelley (who some claim published Frankenstein under her name after her husband wrote it). Ugly rumors and greedy grabs at sensationalism should be met with immediate Critical address, and not allowed to hang over the work and reputations of such writers.

Especially because this happens historically and disproportionately to women – accusation and Critical ostracism – women need to call it out for what it is: a form of professional bullying which needs to be stopped by the nearest thing we as writers have as a governing body: the Literary Critical/Academic community. Mention of accusation is one thing; but reputations should cease to be impugned once the law has ruled on the issue. Such writers should not be omitted from works referenced in genre discussion, or from Critical analysis.

For years I have sought and expected to find essays on Du Maurier’s work, perhaps even Critical expositions. Yet references have been rare and piteously fleeting when found. I find this to be shameful, especially if not only an American issue.

And while Du Maurier is not as “well-known” in the United States as she is in the UK, not as widely read perhaps, and even possibly avoided due to her reputation for alleged anti-American sentiment in her day, her work is more than worthy of attention in this country, her name the kind which belongs on reading lists.

If a writer inspires the readership of a genre, changes the genre, and is referenced as an influence by other writers (as Daphne Du Maurier frequently is), he or she is Literarily relevant – deserving of Critical attention and (if necessary) defense.

Rebecca is one such story… It is often remembered with the same misty reverence by its intensely loyal fans as Jane Eyre…

The story of Rebecca grabs the reader from the very first line: “Last night I dreamed I went back to Manderly…” and it holds the reader entranced with the kind of language that mesmerizes Stephen King fans – accessible language that makes each scene familiar, identifiable, relatable. It is a woman’s story, one that penetrates into a common innocence, a common need for loving and being loved, the sense that we will never quite belong and whole histories await to bedevil us even as they precede us.

This is the what makes Du Maurier a favorite among favorites. With so many of her stories, we can not only imagine her heroines, we could be them.

GG6

Says Christian House in his article for The Telegraph titled “Daphne Du Maurier Always Said Her Novel Rebecca Was a Study in Jealousy”:

“In August 1938, Rebecca caught the zeitgeist, drawing on the glamour of country society and the feeling of impending catastrophe that permeated the pre-war years. Put coarsely, it is a novel about a dead woman and a house. Both of which were drawn from the author’s life.

“‘Mum used to get fed up talking about it,” says [her son Kits] Browning. “She did get so irritated with people calling it a romantic novel. Because she always said it was a study in jealousy.'”

[and further that]

“The seed of the Rebecca story lay in Daphne du Maurier’s jealousy of her husband’s first fiancee … (House)

So firmly nestled among Du Maurier’s success were those facts of her life — and that in the end, it makes her even more human, even more intuitive as a storyteller. And yet like all women writers, there was always lurking in the shadows the problem of being a woman in a man’s world. Continues Buzwell:

“As a child du Maurier often wished she was a boy. In part this was because boys at that time had greater freedoms and opportunities than girls, but with du Maurier the desire went further. She even invented a male alter ego for herself, named Eric Avon, along with a colourful past for him in which he had been to Rugby. Eric Avon was adventurous and fearless, qualities that Daphne du Maurier had in abundance but which she was never fully allowed to express because of her gender.

“As a writer, du Maurier was able to explore this masculine side of her nature vicariously through her fiction. Many of her most famous books, including My Cousin Rachel, The Scapegoat and The House on the Strand have male narrators. Even the very early tale The Doll is told from a male perspective, the narrator finding himself rejected by the woman he loves in favour of a mechanical doll – something which, inevitably, has devastating implications for his own identity. The more you look into du Maurier’s work, the more wheels within wheels you begin to see, and the darker the imagery becomes. It is only when you look beyond her narrative brilliance that you begin to see the haunting darkness and complexity of her work.”

GG7

Such wishes and imaginings are – if nothing else – the ghost that walks among all female-authored fiction. We always second-guess ourselves, our worth, our potential and our right to success. We wonder if we would have fared better as men, if our work would have found better Critical reception had the byline been male.

This is natural in a patriarchal society, even when we hope things are better for us than it was for women who preceded us, even when “things have changed.” We all too often find that they have not changed so very much, and there are just enough mines in the minefield that we can never truly be sure of our footing.

And when we read prominent women writers, we tend to discover troubled waters beneath the prose. This is how we write ghosts without actually writing ghosts. For example, Buzwell explains how Du Maurier builds on the tradition of ghosts as built by Ann Radcliffe:

“Daphne du Maurier’s work also contains echoes of Ann Radcliffe, whose novel The Mysteries of Udolpho came to epitomize the first golden age of Gothic literature. In Radcliffe’s work the seemingly supernatural is nearly always revealed to have a rational explanation. Du Maurier’s work exhibits similar characteristics. In Rebecca, for example, the sinister character of Mrs. Danvers is just that – a character, not a malevolent ghost; while Rebecca herself, who dominates the book without ever making a single living appearance, is a ghost only in the sense that she haunts the imaginations of the living protagonists. This psychological element contains echoes of Henry James’s novella The Turn of the Screw…”

Indeed this is the magical recipe for originality in Horror: the taking of a device from a traditionally-established writer and altering it subtly with the result that the difference jars the plot and the reader alike. But it must always ring true.

This is how we know Du Maurier is not only Literary, but a writer of the feminine Gothic where the female protagonist’s own insecurities has captured us and simultaneously modernized the ghost story, providing the scaffolding for another generation of writers to build upon.

Yet female authors, when they do well, tend to come under scrutiny. Since the early days of Mary Shelley and Frankenstein, a woman’s ability to come up with her own ideas is always suspect, and an illogical and random variable constraint of possible talent is arbitrarily assigned to her capacity as a writer. The success and similarities of Rebecca to the absolute conventions and themes of Gothic Romance made Du Maurier a target. Plots repeat in fiction. And they often repeat more noticeably in subgenres. Yet even as she was dogged by accusations of plagiarism for Rebecca, Du Maurier won all court decisions, and still the spectre of accusations haunted the author all of her life. She lived in mortal fear of disclosing publicly the secrets and details of her own life, of her writing process, of her faults as a woman. (De Rosnay 186-191)

This remained so until her death at 81.

And despite numerous attempts at interviews and accommodating the curious, Du Maurier was at all times a typical writer – insecure, private, perhaps even a bit paranoid of the intentions of others. But she was something else: she was a pivotal player in the Gothic Romance genre, a not-too-distant relative of the Horror genre.

GG8

She should be mandatory reading for writers of Horror, particularly female writers, and writers of the ghost story. She should be on a required reading list for Classic Literature.

Even so, perhaps you are wondering…

Why Daphne Du Maurier? What leads me to choose her as my Women-In-Horror Month writer? Why not Charlotte Bronte or Ann Radcliffe?

Because Daphne Du Maurier is least known in this country and for all of the wrong reasons.

So much of her work has been repeatedly made into films by directors who overshadow her name as an author – (The Birds) Alfred Hitchcock, (Don’t Look Now) Nicholas Roeg, (Jamaica Inn) Alfred Hitchcock, (My Cousin Rachel) Roger Michell, and (Frenchman’s Creek) Ferdinand Fairfax…and because even when we read her work, we get caught up in her stories – haunted by them – without remembering who wrote them.

Yet she is a vital part of Horror genre history. She is a major contributing player in the psychological American roots of Horror writing and filmmaking. Who among us does not count The Birds among the most relevant, inspirational, and yet disturbing Horror of our lives?

The absence of Daphne Du Maurier from our reading lists and our analysis of the history of Literature, especially Gothic Romance and subsequently Horror, has cheated us. We are blinded to a significant Literary connection to our classical roots and – most importantly in Horror – to our British roots.

Du Maurier is a transitionary writer for Horror fans and authors. She is where the Gothic romance becomes the Gothic romance. Jane Eyre and Northanger Abbey are the noises we hear in the dark. Du Maurier is the frisson.

If we are going to improve our knowledge of our own genre – especially as women writers – we need to re-evaluate how we study Classic Literature. We need to abandon the idea that our educational system has the money or wherewithal to broadly educate us in such a way that we can see the Horror from here…Instead we have to look for the Horror ourselves. We have to educate ourselves.

Having abbreviated reading lists in our schools and reduced exposure to Literary Classics in general makes this worse. Writers who are not Jane Austen or the Brontë sisters are almost ritually abandoned in our Lit classes. And the seemingly deliberate avoidance of the Gothic in general as a subgenre except as a setting device is another.

Yet especially in the assessment of contemporary American Literature, we bemoan the lack of continuity with our past, with the lack of originality, the absence of fire that animated so much early English-language Literature. This complaint has spilled over into genres and subgenres like Horror, where so many of our rejections reflect this professional frustration.

It is time Horror recognized Daphne Du Maurier for her contribution to our genre. It is time we stepped up. It is one thing to excuse such childish, professionally irresponsible avoidance and ostracizing behavior when we read about it as history. It is another when we realize our own silence reinforces the inaccuracy and injustice of prejudiced exclusion.

It is time we opened our eyes. The British continue to outpace us in accomplished Horror writing. We continue to flop about like dying fish out of water.

I say wade in. The water is fine. The water is still mostly British. And when it comes to studying women’s writing and the Gothic Romances, nobody does it better than Daphne Du Maurier.

Go on. Scare yourself. You’re gonna love it.

GG9

References

Buzwell, Greg. “Daphne du Maurier and the Gothic tradition.” Retrieved 1/31 from http://www.dumaurier.org/menu_page.php?id=122

Crace, John. “Daphne Du Maurier’s Rebecca Taught Me How to Love Literature. Retrieved 1/25/2018 from https://www.theguardian.com/commentisfree/2014/aug/20/rebecca-daphne-du-maurier-classic-literature

Davenport-Hines, Richard. Gothic: Four Hundred Years of Excess, Horror, Evil, and Ruin. North Point Press/Farrar, Straus and Giroux, c1998.

De Rosnay, Tatiana. Manderley Forever: a Biography of Daphne Du Maurier. New York: St. Martin’s Press, c2017.

House, Christian. “Daphne du Maurier Always Said Her Novel Rebecca Was a Study in Jealousy.” Retrieved 1/15/2018 from http://www.telegraph.co.uk/culture/books/10248724/Daphne-du-Maurier-always-said-her-novel-Rebecca-was-a-study-in-jealousy.html

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

 

 

 

Caution: Tentacles May Deploy Without Warning (or, How Your Age Informs Your Fiction Writing Success)


When I was a teenager, I loved horses. I rode competitively briefly, showing other peoples’ hunters… and I desperately wanted one of my own.

Standing next to a fellow rider once, I was asked if I had my own horse. I replied, no…but I hoped to have one someday. The girl snorted, looking down her nose at me. “If you really wanted one,” she said, “You would have one by now.”

Little did I know, this was how the world would be looking at my writing forty years later.

If you were any good, you would be published by now…

To my Horror, I actually believed that for an ungodly long time.

 Age1

The Truth About Age in Fiction Writing

I have often wondered why no one ever discusses age (like race) as a contributor to Horror fiction.

I have often wondered why once we are ensconced (read trapped or buried) in other careers, relegated to merely dreaming about our writing, we stop believing publication is possible. Or viable. That we come to believe success in writing is only for the young among us.

Some of this is the fault of the marketing machinery of Big Publishers, who like to advertise new writers as “the next Stephen King”… implying that such a writer is a youthful puppy, a keeper, a long termer, a veritable gold mine of future works to be immortalized in film. And sometimes this is because Big Publishers NEED another Stephen King… because some day they will have to navigate our genre WITHOUT him…

But many times it is also because those of us who are right now the Old Writers struggling in the genre grew up with a totally different concept of success – actual examples of lives lived writing… even writing even mediocre Horror fiction. We grew up with the 1970’s Boom, and so to us, success means writing a novel or two in our twenties and transcending into being a Professional Writer. To us, success has been painted as being able to not only make a living off our work, but living well…

Yet if that scenario failed to play out, we start doing the math. After years of listening to the many criticisms and following the life-plans dictated by other people, we wonder: is there still time? Will we live long enough to woo Big Publishers into paying us Big Money contracts (the kind that don’t exist anymore), and didn’t we miss the boat already if we can’t be young and flaunt it? To do all of the things we wanted to do as rich, successful authors?

Old writers are often their own worst enemy…

But then we have had a lot of help in twisting our own self-images.

Because I have also wondered when it became okay to associate older, unpublished writers with failure…to make it an inside joke.

And why is it “proof” of talent or vision to not only get published, but to be young and rich and published? Only some of us are old enough to remember when that was even possible…

It’s not like editors know the ages of submitting authors either… So it must be coming from ourselves.

We have bought into the mythology that unless we are published when we are young, and are thereby a “Professional” (and rich) Writer well before we are thirty, we are simply not good enough…We didn’t want it badly enough. So now we don’t deserve to associate with Real Writers…

Suddenly there is an accompaniment of snorts and sideways, condescending glances… Suddenly we are out of the loop, out of style, and unable to gauge exactly when that moment of stellar success was supposed to have happened.

To make things worse, we keep moving that secret Age of Success, the one that marks the moment we should resign ourselves to other jobs and other careers… Whose idea is that?

Writers of our genre come in all genders, ages and colors, all geographic locations and climates, all political and religious bents. Yet time and again we are given a prepared profile of the Professional Writer… in our genre, typically still a Caucasian male, young enough to remember his youth and still writing about it and his own young adulthood.

Women writers of Horror, it seems, are more readily painted as Young Adult writers, or writers of fantasy. We are to be seen and not heard, demure… nurturers of young readers. We have, apparently, even lost our genre identities as the mistresses of the ghost story. We are not to be taken too seriously.

It gets worse the older we are…

Collectively, we have lost our voices as men and women unafraid to write as older men and women. It is kind of like being in Hollywood… as though we are being (in not-so-subtle ways) coached to disguise our ages (when not our genders) by writing about youth, as though the only ones interested in reading Horror are the very young people the Establishment tends to claim don’t read anymore…

These are all lies, I tell you…lies!

Not only is Stephen King the proof, but so are writers like Ramsay Campbell, Anne Rice, Richard Matheson, Dean Koontz, Neil Gaiman, Tanith Lee, Dan Simmons, Clive Barker, Bentley Little, and Robert R. McCammon… all of them “vintage” and still carrying our genre…even in backlist titles.

As a reader of many of them, I have watched a good many protagonists creep up in age… leaving behind that New Adult thing that has tried to insert itself between Young Adult and Real Adult fiction. Our own writers have tried to drag Horror back into the Adult arena, dancing with Literary values by writing stories which are in themselves proof that some of the best Horror gets written after we grow up. Everywhere there are signs being downplayed and ignored… Horror is growing up.

So why does the myth of youth persist when defining New Writer Success in our genre?

Who has commandeered the profile of writers to suggest that if a writer has not “made it” by the time they are in their twenties and “established” by their thirties, then Fate is telling you they are not worthy?

The truth about age in Horror fiction writing is this: youth is where we learn about what scares us the most; old age is where we learn about confronting that fear… So while we may have great scary ideas as young writers, and we might write boldly about those things, as older writers we know how to throw and receive a punch. We are, in fact, more likely to generate Horror fiction with Literary elements.

Why?

Because it takes some living to write what you know.

And it takes even more living to write what you believe.

The truth about old writers, published or not?

Writers, like fine wine, improve with age…

Age2

Getting Past the Stereotypes

Like most Horror writers, I started writing pretty early – toying with ideas when I was a teenager, heavily influenced by the many writers of our second Golden Age of Horror and Science Fiction in the 1970’s Publishing Boom. This was the time of the paperback – what book peddlers call Mass Market paperbacks, and what was then bursting onto the scene as “Pocket Books” – those small paperbacks for under $5 that were on racks and spinners in every grocery store, hospital, drug store and airport.

This was when fiction was so mass-produced that the impression was left on many a young writing hopeful that there was a living to be made writing fiction and an unending world of story to be savored out there. Who would have thought it was a phase? Who would have thought that pulp stories would be pushed out of our immediate consciousness and that book prices would rise precariously, nearly putting fiction out of reach entirely, and severely limiting our choices both professionally and as readers?

Sadly, the demise of the age of the Mass Market paperback came with another price: the end of the Mid-List Author, the complete and utter destruction of writing careers, of publishing careers, of…writers.

Many of us were left adrift with our dreams. We had nowhere to go… And when former industry standards are being laid off, let go, and dicked over, when top editors are being unceremoniously dismissed… What hope is there for unknown writers?

Most of us were forced to abandon our dreams, to sell them out for “real” jobs, coerced into believing that because “anyone can write, writing is no worthy talent.”

So we spent decades writing stellar letters, correcting CEO’s bad grammar, creating easy to understand Standard Operation Manuals and Employee Handbooks. Later, we did some awesome presentation materials, edited scientific reports for style and grammar, we made the coffee, we cleaned the bathrooms.

And all the while Stephen King kept writing, kept being published, kept proving that it’s the story, dummy… it’s all about the story…

So pardon my generation if we took a little while to find our way back to sanity. It only took being sold out by every generation that went before and half of them coming after, by losing our alternate “careers” and retirement savings and being passed over for real jobs no matter how often we returned to schools and collected degrees, and maintained GPA’s our younger classmates seldom did.

It took realizing that we have been had… that we have been cheated and tricked and bribed out of our real purposes in life…

It took realizing we sold out…

Age3

That means that yes, my generation is in the midst of an epiphany.

And no matter what other well-meaning folks or scheming cads intended by saying what they said to us… We did this to ourselves. We abdicated…

And we are all the more miserable for having done so.

I think if older writers have one message for the younger ones shyly coming up behind us it is this: stop listening to the “experts.” Especially today, the rules are being rewritten, flaunted, disposed of.

Make your own. Take your own life by the horns and don’t look down, don’t look back, don’t let go…

This means that just like this old Horror writing woman, you have to decide what will be important in your life: holding onto what makes you, you… Or pretending that “someday” will come before you die.

It means whether you are male or female, you cannot believe in stereotypes… like old people will only write fiction other old people will want to read (like filling a niche is a bad thing), or that old people can’t write fiction that relates to younger readers.

Pish tush.

It only means we really, really shouldn’t try to write in “modern” slang, to believe our own stereotypes about young people.

We Ancient Ones have had quite enough of the stereotypes, anyway. And if you are a woman, chances are you have been hearing them since you lost that 20-something baby fat and your front end alignment started needing annual adjustment.

Age5

The Eldritch Uprising

You may not have noticed, but there is a movement afoot. A bunch of old folks have gone rogue and started looking for “second” careers… (I am on number 39, thank you, Silicon Valley.)

We have realized that we are NOT our jobs, but our jobs may in fact be US. Who we are at the end of the day comes down to what we believe about ourselves, about happiness.

So many of us who tried to be writers just in time to become other cogs caught in other machinery have begun to come home. Just in time, too… because now we don’t need the Mass Market boom, or the classy sassy editor, or the big New York publishing machinery – it would be nice, but we don’t need it.

Because the same technology that vampirized our savings accounts and fake careers, has also provided us with the ultimate put-up-or-shut-up opportunity: self-publishing.

And ironically, what we hear from traditional publishing is a whole lot of whining about quality.

For sure, the price of self-publishing sometimes comes at the sacrificial altar of quality… But if we apply what we learned working in all of those endless clerical jobs about editing and presentation and layout and marketing…

Come on. You fellow old folks know exactly what I am saying… we already ran companies, offices, projects…

And if we can do them for others we can darn well do them for ourselves.

We just have to keep ourselves from getting giddy – drunk with excitement and anticipation, blinded by the possible rose-colored glasses of delusion.

Sure maybe we are J.K. Rowling’s long lost Literary Twin, the New Stephen King…

But most likely not.

So our rebellion must be tempered with humility. Don’t rush to publication. Don’t assume your writing is “good enough” without having others (who don’t care about your feelings) read it. Pay people to judge it. And learn how to fix the things that are found to be wrong…

As Eldritch Ones, we must realize that we may indeed have missed the boat in the quest to have our work to be well-read and to die famous, to quit the day job and live adequately on Social Security.

But we have not missed anything of Life. We still have the capacity to break barriers, to create something new in the vacuum of modern genre writing, to be… rebels. Old rebels, but rebels nonetheless.

Maybe that’s especially true for older women…Maybe nobody ever suspected you had Horror stories tucked away in your cookie-baking apron, or that you’ve fed every co-worker who ever got you laid off to the most unspeakable of monsters…

The bottom line is this: when writers get old, they write what they think. It’s a miracle. We stop caring what other people think.

Age4

 

Your writing is what you say it is, not what others say it is. It is also where you say it is… there is NO timeline, no age limit constructed by people with questionable motives and possible psychological issues of their own.

We also come to realize that by doggies we have opinions that do not have to conform, that we are as writers generally not conformists as a rule… that maybe, just maybe we should have been torching our own underwear with protest groups a long time ago instead of letting the Herd think for us.

Maybe that is how we turn it around. We realize maybe to our own perverse shock and joy that all of these years we really were feminists, or conservationists, or advocates for the unlikely and un-preferred.

And then things like Literature begin making sense… becoming even more mysterious, carrying codes and secret language we never before picked up on. And we realize with giddiness that we can write that way too…that it is the unwritten, unspoken challenge of the profession to do so…

Suddenly we realize we have actual opinions about the way things have played out in wars, in society, in the ways we treat each other right here in our own generational decades.

Suddenly our age informs our writing… and we cannot stop it.

And we begin to build monsters, looking for ways to say what we have by evolution come to realize: that we are where we are because we did not speak up when it counted, when it was for ourselves. We believed the mythology. And there is only one way to break out of our self-imposed misery…

We write. We are writers. That is what we do.

Don’t be surprised if there are tentacles.

We warned you.