#StokersSoWhite: 2016-2018, the fall of tokenism at the HWA

Written by on 10/17/2019

Linda Addison, first Black Stoker winner (Poetry, 2001) and Lifetime Achievement Award winner, with Tananarive Due, first Black Stoker nominee (Novel, 1995) and guest of honor at StokerCon 2017 in Long Beach – Photo: Dave Duffy

Writing While Black, October 2019 edition

by Sumiko Saulson

In 2018, Linda D. Addison’s
17-year reign as the only Black Stoker winner came to a blessed end. No one was
more grateful than Addison herself.

“I don’t step around touchy people – top, middle or bottom;
I’d rather spend time stepping with people who are doing good work. The changes
that happen to the organization and the genre, in general, are driven by many
people, inside and outside the HWA,” says Addison, the 2017
HWA Lifetime Achievement Winner

She’d been putting in work for more than a decade and
redoubled her efforts in 2016 when the HWA got into hot water over allegations
regarding David A Riley’s history with the National Front and possible racism
in the selection committee
ranks. Further, the HWA was trying to
distinguish itself from charges that the entire speculative fiction world was
filled with glass
ceilings, white dominance and cronyism, which had been surfacing since the Hugo
in 2015.

Addison wasn’t the only person inside the HWA trying to
address the issues. Then-president Lisa Morton created a committee to address
diversity issues. “Morton conceived the Diverse Works Inclusion Committee
(DWIC), and asked me to join,” Addison recalls. “The committee is tasked with
finding creators with diverse backgrounds to expand the membership’s awareness
of individuals whose work they might not know”

2018 StokerCon Scholarship from Hell winner Kenesha Williams with Linda Addison and other Black authors

Black voices in speculative fiction aren’t new, but awareness
of our participation in sci-fi, horror and fantasy is on the rise. This is
partially due to the scandals and also to the increase in Black audiences in
the sci-fi, fantasy and horror television and motion picture industries.

Historically, the horror world has been very separate from
the Black writing world, which is why “Beloved” wasn’t considered horror by
most when it was released. The perception that horror writers are exclusively
white men has gradually changed, but not without work put in by people on the
inside and outside. The first Black Stoker nominee, Tananarive Due, recalls her
first nomination in 2015:

“I was nominated for the Bram Stoker Award for my first two
novels. For the first, ‘The Between’ (1995), I was just happy to be there
meeting the ‘other’ side of my family after being so strongly embraced by
mostly Black women readers. It felt like a big deal to me that I was invited – I
got to meet Harlan Ellison and give him a copy of my book. And he called me out
of the blue and actually gave me small notes on it, mostly grammar.”

While Linda Addison was working on changes from the inside,
a group of Black authors from outside of the Horror Writers’ Association was
also busy chipping away at the problem by making sure that the horror brand
included Black authors. Black authors in the horror genre owe a debt of
gratitude to Sheree Renée Thomas and the groundbreaking 2000 anthology “Dark
Matter: A Century of Speculative Fiction” from the African Diaspora. Unlike
many sci-fi and fantasy anthologies, it included horror under the general speculative
fiction umbrella. It is the anthology that launched dozens of other anthologies
celebrating African Diaspora authors.

“’Dark Matter’ inspired other anthologies featuring Black
authors, and I was fortunate to have work accepted into ‘Dark Dreams I & II’
and ‘Dark Thirst.’ Even though I had enough fiction credits to be a HWA active
member, poetry is my first voice, so I held out joining HWA until they added an
active level for poetry,” Addison observes.

Toni Morrison and Linda Addison in a 2010 photo from Linda’s phone

Linda Addison and Kinitra Brooks got together with Susana
Morris to give back to the community with their own anthology highlighting
women writing horror from the African Diaspora. The Stoker-nominated 2018
anthology “Sycorax’s Daughters” had a Stoker-nominated non-fiction academic
research companion book called “Searching for Sycorax: Black Women’s Hauntings
of Contemporary Horror.” Both are the brainchild of Dr. Kinitra Brooks, a
scholar who studied Black women’s participation in the horror genre.

“Dr. Kinitra Brooks approached me with her idea of creating
an anthology of horror fiction and poetry by African American women,” Addison
says. “I was delighted to be a co-editor with her and Dr. Susana Morris to put
together ‘Sycorax’s Daughters’ (Cedar Grove Publishing, 2017). The anthology
contains 33 Black women authors – 28 stories, 14 poems. It got great reviews
and was a finalist for the HWA Bram Stoker® award in the Anthology category.
Although the book didn’t win, it put the anthology and the 33 authors on the
map and that was everything I wanted!”

2017 was the staging ground for 2018, what would become a landmark
year for Black voices in the genre, with screenplay writer and director Jordan
Peele as its rising star. In 2018, he became the first Black Horror Writers’
Association Screenplay Award winner. He also won an Academy Award for Best
Original Screenplay. Peele’s mainstream success is unique in the historically
segregated world of Black horror.

Sci-fi legend Octavia Butler won a posthumous Stoker award
for the graphic novel “Kindred” in 2018. All of these works were created in
2017. The HWA put a lot of work in on its diversity issues that year. The “Recommended
Reads” list was part of that reparation and public accountability process.

“As much as anything else, there has been an increase of new
diverse names on the Stoker recommendation list through the final ballot in the
past years. The HWA has a new site to highlight the winners and nominees along with
the public facing page, HWA
Reading List
, which lists the Stoker recommended work by year and gives
exposure to new creators, whether they win or not,” Addison explains.

Banner design: Crystal Connor

In 2017, Tananarive Due, the first Black nominee, was bought
back as an honored guest, restored to an honored position and invited to take a
seat alongside the legendary George RR Martin. This seemed beyond appropriate,
as Due had disappeared into the segregated world of Black writing when the diversity
efforts of the ‘90s tapered off. Cronyism and the lack of other Black writers
created a glass ceiling that affected authors like Due for decades.

“It feels to me that when horror editors started soliciting
short stories from me in more recent years, recognition of my work began to
grow again,” says Due. “But my books were promoted to Black circles much more
than to horror circles because that was where my audience originated during the
Black books boom of the ‘90s.”

Oakland’s own Boots Riley wrote and directed the brilliant
Afrosurrealist horror satire “Sorry to Bother You,” which takes stabs at
capitalism, the tension between the Black bourgeoisie, with its aspirations to
the middle class, and Black revolutionary voices. Boots Riley’s debut
screenplay was nominated for a number of mainstream awards such as the Hugos,
but didn’t win them. Meanwhile, it swept a series of Black awards, winning the
Black Film Critics Circle Award, three Black Reel Awards – Outstanding
Screenplay, Outstanding Emerging Director, Outstanding First Screenplay. This
is more common for Black writers and mirrors the experience of the first Black
Stoker nominee Tananarive Due.

“When I was nominated again for my second novel, ‘My Soul to
Keep’ (1997), somehow I felt a vibe that I might actually win – I’m not sure
where I got that idea. It felt to me like there was a lot of buzz about it. So
because I’d gotten my hopes up, the loss was like ‘Ouch,’” recalls Due.

Unfortunately, Sister Due’s feelings that insiders are
better positioned are well warranted, and it’s a two-edged sword. The HWA
rewards those who draw attention to other writers in the genre. This means that
Black anthology editors, bloggers and magazine editors who put out who’s who
lists and create access to Black horror authors are rewarded.

People who win Stokers and those who win Horror Writers’
Association scholarships are very horror branded. The Black winners of the
Scholarship from Hell, Kenesha Williams (2018) and myself (2018), are both
prominently involved in activities that bring attention to other horror
writers, especially Black ones. I also ended up on the 2018 Recommended Reads list
for “Black Magic Women.” Black horror bloggers and anthology editors are more
likely to wind up on the radar of the Stoker voters, who are all part of the
horror writing industry. But vested interests are hard-pressed to critique or

“The nominations were a huge confidence builder and I was
grateful to the HWA for recognizing me at the very start of my writing career,
but I also felt the sense that I would not truly be a part of the organization
until I got to know more people – and that didn’t happen for many years,
unfortunately,” Due remarked. “I got married and was raising my son and then
teaching and screenwriting, so I drifted away from horror fandom for a long

Carolyn Saulson and Sumiko Saulson, co-founders of the African American Multimedia Conference, flank Davey D, host of Hard Knock Radio on KPFA, as they discuss the conference on Black Renaissance in 1999.

I would be remiss not to mention that both Linda Addison and
I are light-skinned, while Tananarive Due is dark-skinned. It would be a lack
of personal accountability to neglect to mention that Jordan Peele is biracial
like I am, and that Octavia Butler, a
dark skinned author, won only posthumously. That my mother, a dark skinned
Black woman, had challenges beyond the many I myself face as a light-skinned
biracial Black woman, is something I will never miss.

I am aware of the need to call out light-skinned and
biracial privilege, but I don’t think biracial Black people should step aside
to make more room for the long list of white people. As Brian Keene says,
someone has to assure that the public face of the Horror
Writers’ Association
doesn’t remain monolithically white.

“The HWA is the public face for all of us. Twenty years ago,
the only people of color represented in that face were Linda, Maurice, Wrath
James White, J.F. Gonzalez and perhaps a small handful of others,” says Keene,
who initiated 2016 HWA boycott.

The 2018
Horror Writer from Hell Scholarship winner, Kenesha Williams,
is another Black
woman who is deeply invested in integrating the horror genre. She is the founder
and editor-in-chief of Black Girl
Magic Literary Magazine
. There is nothing wrong with the HWA honoring these
efforts. They should. They should also honor the earlier efforts of Sheree Renée Thomas.
And it becomes increasingly necessary for us to take a page from the Black
women in the documentary “Toni
Morrison: The Pieces that I Am
” and push one another up, replacing the
white male dominated old boys club with our own mutual admiration societies.

“Change comes from different directions, from inside an
organization and outside,” notes Linda Addison, referring to the growth of
publishers, conventions etc. from the Black community.”

People like Sheree Renée Thomas, Kinitra Brooks, Linda Addison, Ashlee
Blackwell , Kenesha Williams and myself are part of a movement to make sure
that Black horror writers are branded as horror writers. Horror bloggers like Ashlee Blackwell of Graveyard
, editors like Linda Addison, scholars like Kinitra Brooks, Tananarive Due and Steven Barnes draw attention
to the genre through classes and scholarly texts like her “Searching for Sycorax.”

Milton J Davis, Valjeanne Davis
and Balogun Ojetade are doing something
similar with Black sci-fi anthologies, and there is a lot of crossover in the
genres. So are publishers like Nicole
Givens Kurtz
, who put out my anthology of Black women in horror, “Black
Magic Women
,” in 2018, on her Black woman owned and operated imprint Mocha Memoirs Press out in Tennessee.

Tune in next month for the November issue of #Writing While
Black, “The Rise of Black Speculative Fiction,” and learn about how Black
anthologies increase awareness of Black authors in speculative fiction. Stay
tuned for more from Linda Addison and Tananarive Due, plus an exclusive
interview with Sheree Renée Thomas, editor of “Dark Matters.”

Are you a Black author, filmmaker, singer-songwriter or
other multimedia artist? Join the movement to take the convention scene back
for the Black community. Join us as a
at the 2020 African American
Multimedia Conference
in February, produced by Iconoclast Productions, and
sponsored by ReaderFest
and the San Francisco BayView newspaper!

Bestselling author
Sumiko Saulson writes award-winning multicultural sci-fi, fantasy, horror and
Afrosurrealism. Winner of the 2017 Afrosurrealist Writer’s Award, 2016 HWA
Scholarship from Hell, and 2016 BCC Voice Reframing the Other Award, (he)r
monthly series Writing While Black follows the struggles of Black writers in
the literary arts and other segments of arts and entertainment. (S)he is gender
non-binary. Support (he)r on
Patreon and follow (he)r on Twitter and Facebook.

Source: San Francisco Bay View

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