Tag: #GaimanGate

The Real Victim is John Scalzi

It’s truly remarkable how John Scalzi manages to take one of the most serious sexual assault scandals in the science fiction and fantasy world since the Breendoggle of 1954, and on the basis of his nodding acquaintance with a more successful and more famous colleague, make it all about himself.

If you want to know when I pretty much drew a line though my friendship with Neil Gaiman, it was when Neil acknowledged that he made moves on his early-20s nanny on her first day of employment. This meant that the absolute best case scenario of this whole situation was that he didn’t have the sense or wisdom to understand that making a move on a woman 40 years his junior, economically dependent on him, and whom he had met just literally hours before, was an extremely questionable idea. And by extremely questionable I mean dude what the fuck how do you not understand the actual consent issues involved here. The answer I came to is he probably did understand, and that when all was said and done, the “absolute best case scenario,” which is still very terrible, was not where we would end up. And indeed, that’s not where we are today.

Just what everyone wanted to know, right? Two paragraphs later, and surely he’s going to get to the point, right? Yeah, not so much.

Here are two things about me, one which you know and one which you may not…

Or not. However, he saves what is definitely the funniest part for the end.

Neil’s been a friend, and an important person to me, and someone I’ve been happy to know. But the friendship has been drawn down and done, and at this point, given everything I’ve written above, I don’t think he’ll complain much about that.

More to the point, I don’t think he’ll even notice. Here’s the thing. If you’ve got a friend, an important person to you, someone you consider a pretty good friend, don’t you have their phone number? And if they’re very publicly accused of criminal acts that you believe to be out of character, wouldn’t you, you know, give them a call and talk to them?

This is a nice illustration of the dangers of clout-chasing. Scalzi pursued his nonexistent “friendship” with Gaiman with far more vigor and ardor than he ever pursued his wife. And now that his supposed friendship puts him directly in the line of suspicion – even Gaiman only wrote rapturously and rapaciously about raping nubile young women still in their teens, unlike Scalzi, Gaiman never publicly declared himself to be a rapist(1) – that very important friendship is over, whether the very important ex-friend realizes it or not.

“I’m a rapist. I’m one of those men who likes to force myself on women without their consent or desire and then batter them sexually. The details of how I do this are not particularly important at the moment — although I love when you try to make distinctions about “forcible rape” or “legitimate rape” because that gives me all sorts of wiggle room — but I will tell you one of the details about why I do it: I like to control women and, also and independently, I like to remind them how little control they have.”

– John Scalzi, 25 October 2012

(1) Scalzi and his defenders are quick to point out that when Scalzi was declaring that he was a rapist, that he was only doing so satirically. Which not only misses the first point, it misses the second one as well. Because, first, the correct response to satire is more satire. He says something reprehensibly stupid, we pretend to take it seriously. Second, precisely what planet was Scalzi orbiting when he decided that writing rape satire as political commentary was either a) amusing or b) appropriate? What he and his fans believe to be a defense of one offense strikes most normal people as a public confession of guilt concerning a lesser one.

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“Considerable Disdain for Him”

I am, and have been for decades, a fan of Tanith Lee. I absolutely adore Tanith Lee. Her tales of Paradys and the Flat Earth are solidly entrenched in my top ten fantasy series, and while I wasn’t unaware that her work was a major stylistic influence on Neil Gaiman, due to what I observed to be his unoriginal mediocrity, I simply wasn’t well-read enough in Gaiman’s work to realize that Gaiman wasn’t just heavily influenced by Tanith Lee, he appears to have done little more than steal her characters and world-building without attribution in lieu of creating anything himself, as one fan of Lee’s noted:

Neil Gaiman’s THE SANDMAN is a great comic book series. Gaiman modeled his series on Tanith Lee’s TALES FROM THE FLAT EARTH. But you wouldn’t know this, because Gaiman has never given her any credit. Despite the fact that the main character — a byronic, pale, otherworldly, deity-like character — is the prince of night and dreams. Despite the fact that every time people see art depicting Tanith Lee’s main character Azhrarn, they think it’s Morpheus from the Sandman. (How bad is this? When people see depictions of her character, they say SHE must have ripped HIM off.)

Despite the fact that the dream lord’s younger sibling is Death.

Despite the fact that other members of his family include Delusion, Delirium…. They are not gods but beings older than gods, and when the gods die, Dream, Death, Delusion, and Delirium will remain. This family of immortal, eternal, unchanging beings, who each embody an eternal abstraction starting with the letter D.

Someone else on the internet, noticing the similarities, flipped open the third book in Tanith Lee’s series to a random page, and lo and behold, there’s a description of a character who was clearly the inspiration for Gaiman’s Mazikeen. The prose, the characters, the narrative strategies, the mythology, the story structure, all of it: Gaiman found it all in Tanith Lee‘s writing and never gave her any credit.

He became rich and famous profiting from her ideas. People effused over his amazing imagination, when the ideas they praised him for were actually created by Tanith Lee. And, while he was building his name and fame, she was struggling. In the 1990s, toward the end of her life, she complained in an interview that magazines weren’t buying her stories anymore.

A simple “If you like The Sandman, you should really read Tanith Lee’s books!” from Neil Gaiman would have meant so much to her career. To the livelihood of a struggling, less-privileged writer, whose amazing imagination Gaiman was actively ripping off. People praised The Sandman comics for their depiction of gay and trans identities. But in the original material, Tanith Lee was far more progressive about lgbtq+ identities, and that was twenty years earlier.

I first read Tanith Lee’s book NIGHT’S MASTER (the first in the FLAT EARTH series) in maybe 2005, about 10 years after first reading The Sandman. I looked to see if Gaiman had credited her for “his” ideas; as far as I could tell, he never had. And for the subsequent 19 years, whenever I see a new Neil Gaiman interview, the first thing I do is ctrl-F to search to see if he mentioned Tanith Lee. And he never has, that I’ve seen.

I have no difficulty believing the accusations against him.

Because I know — KNOW — that he has felt entitled to take what he wants from a woman, without her permission, and without any acknowledgement of her contributions.

And, finally: If you loved Neil Gaiman’s stories, if you are heartbroken to learn the storyteller you loved is apparently an abuser, here is my suggestion: track down Tanith Lee’s TALES FROM THE FLAT EARTH books. Her prose is more exquisite and imaginative, her ideas more original, her empathy real.

Not only that, but a personal acquaintance of Lee, Liz Williams, points out that Lee herself believed Gaiman plagiarised her work and had “considerable disdain for him.”

Tanith was my friend, as many writers in the UK will attest, especially on the south coast. I did know this, because she told me. We were at a convention – IIRC Orbital 8, in 2008 – at which both Neil and Tanith were guests. She told me that she was trying to avoid him because he’d plagiarised a large chunk of her work: not just a bit, but entire paragraphs. She didn’t say which book it was from. And she had considerable disdain for him.

A well-read reader on r/neilgaimanuncovered confirmed the charge.

He basically stole Sandman from Tanith Lee’s “Tales of the Flat Earth“ and his “Snow, Glass, Apples” from her “Red as Blood” with zero credit whatsoever, never even a recommendation that others read her work (a major sign of insecurity and guilt, right there). He also stole Coraline from Clive Barker’s ”The Thief of Always.” He’s a fraud as well as a monster.

I never read Snow, Glass Apples but I do recall thinking its description sounded an awful lot like Red as Blood. All of his revised fairy tale stories struck me as very similar to Lee’s White as Snow, but again, I never bothered reading any of Gaiman’s short stories until very recently. And since I’ve never read Coraline or anything by Clive Barker, I wasn’t aware of the relationship between those two works either.

But it is very satisfying to see the literary world finally coming out and telling the public the obvious truth about Neil Gaiman’s mediocrity and total lack of creativity. He’s never been a great writer, he’s never been a great storyteller, he is instead, as Terry Pratchett suggested, “an incredible actor” playing the role of a great storyteller. In my opinion, these charges of stealing without attribution and plagiarism tend to further support my hypothesis that “Neil Gaiman, Bestselling Author” was a literary fraud manufactured by the much the same people who made L. Ron Hubbard a bestselling author.

The conclusion appears to be as apt as it is succinct. “He’s a fraud as well as a monster.”

So finally, we have the answer that we’ve suspected for months. Robert Rankin indicates that Terry Pratchett had more than an inkling that his Good Omens co-writer and supposed good friend was not “a very nice, approachable guy” but an actor hiding his true self.

“Terry told me he wished he’d never worked with him, but I never found out why.”

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Calling Out the Publishers

A New York Times article about Neil Gaiman’s first public response to his accusers draws some much-needed attention to the non-response from his various publishers:

HarperCollins, which has published many of his most notable works, and Marvel, the comic book publisher, have no new books forthcoming with Gaiman, according to representatives from the companies.

His literary agent at Writers House, which represents blockbuster authors like Dav Pilkey, Nora Roberts and Ally Condie, did not respond to requests for comment about whether the agency would continue to represent him. Norton, which published an illustrated edition of Gaiman’s “Norse Mythology” last November, did not respond when asked whether the company would publish Gaiman’s works in the future. DC Comics, which published his blockbuster comic book “The Sandman,” along with other works, declined to comment when asked whether DC would continue to publish him.

For some of the women who have accused Gaiman of misconduct, the muted responses from his publishers and collaborators are a bitter disappointment…

In an interview with The Times, Kendall described the “culture of secrecy” around Gaiman. “Neil’s works were his bait, and promotional events were his hunting ground,” she said. “As long as his publishers and professional collaborators remain silent, Neil will continue to have unrestricted access to vulnerable women.”

“The silence of the community around him — his fandom, his publishers — is loud and disturbing,” Stout said in an interview with The Times. “I’ve heard that it was an open secret that he was a predator, but that whisper network did not reach me.”

I think it is unfair, unreasonable, and wrong for anyone to fault the bookshops for ordering books that their customers come in and request. The books are published, they are in the system, and the whole purpose of the bookstore is to satisfy their customer’s preferences. And as one executive at a very large book distributor once told an SJW employee who was complaining that they were distributing Milo Yiannopoulos’s books: “seeing how we carry 50 different editions of Mein Kampf, where do you propose we draw the line? We’re a distributor, we’re not the Book Police.”

However, it is absolutely fair, reasonable, and correct for people to be holding the book publishers accountable. The publishers make it very clear that they stand for certain principles and oppose other principles; unlike Castalia, most of them even have mission statements that they claim defines their very purpose. And precisely none of those statements are in line with publishing an author who is quite credibly accused of having committed a series of rapes and sexual assaults over a period of more than 25 years.

When publishers are deplatforming and refusing to publish authors whose politics they don’t like, they really have absolutely no room for continuing to publish serial sexual assailants and sexual harassers simply because they approve of their politics. This isn’t something that is simply going to blow over and go away because the alleged crimes are too serious and the hypocrisy is too blatant.

We’ll be holding an early Arkhaven Nights tonight to discuss both the latest developments in #GaimanGate and the bankruptcy of Diamond, the comics distributor.

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