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“But that didn’t mean that there wasn’t reaction, and he felt it sharply in late 1970 when Ace Books published columns one through fifty-two as The Glass Teat. Initial orders were so strong that Ace ordered another press run, and in August of that year, they contracted him to write The Other Glass Teat as soon as he’d generated enough additional columns to fill a second book. A late 1971 pub date was anticipated. Only it didn’t happen. Not only did The Other Glass Teat not come out as promised, sales of The Glass Teat suddenly dropped off sharply. An inside source in Sacramento leaked to Ellison that his name had been placed on then California Governor Ronald Reagan’s “subversives list.â€� The nomination had come from Richard Nixon’s Vice President, Spiro Agnew. Agnew was personally offended by Ellison’s repeated digs at his repressive policies and smarmy (and, as it turned out, hypocritical) morality. According to Ellison, word had been spread to bookstores and distributors to keep The Glass Teat off the market despite its popularity. Ace was forced to cancel their contract, telling Ellison to keep half of the advance. The embargo held until 1975 when Ace, sensing that the market had calmed, republished The Glass Teat and announced The Other Glass Teat as part of a twelve-book run of Ellison reissues and new titles.”
― Nat Segaloff, A Lit Fuse: The Provocative Life of Harlan Ellison

“Harlan Ellison’s epitaph is of his own construction: “For a brief time I was here, and for a brief time I mattered.â€�246 He leaves it to potential mourners to decide whether it shows modesty or cynicism. If the former, it merely restates what he has said throughout his career: that writing is a job. He proudly calls himself a blue collar writer and has proved it no fewer than twenty-seven times by sitting down in public and pounding out stories on his portable Olympia typewriter. No theatrics, no waiting for the muse. Just demonstrating â€� as Mary Heaton Vorse described it â€� the art of applying the seat of the pants to the seat of the chair. If the latter, then he is rejecting the tremendous effect he has had on that most rarefied form of narrative writing, the short story. Even when he declares that his writing isn’t art, the countless awards he has won for it argue otherwise, and the equally countless reprints in literary anthologies should constitute an apotheosis.”
― Nat Segaloff, A Lit Fuse: The Provocative Life of Harlan Ellison