At the World Fantasy Convention in 2015, I was introduced to the world of weird fiction.
My roommate for the weekend, Usman T. Malik, introduced me to the Year’s Best Weird Fiction anthology series (Undertow Publications), where a short story of his, “Resurrection Points,” had been published recently. His enthusiasm for his genre of choice, the weird tale, was contagious.
Soon I had discovered ChiZine Press’s lineup of dark fiction novels and short story collections and I had picked up Jeffrey Ford’s collection A Natural History of Hell. These stories, particularly those in the Ford collection, astounded me with their imaginative situations, their mythologies, and their bold use of language. Although I had not been exposed much to H.P. Lovecraft, I began to read his classic weird tales as well. I had caught the bug.
Before I knew it, weird tales had infected my brain. It was just as China Miéville described in his “Afterweird” to Ann and Jeff VanderMeer’s seminal anthology, The Weird: A Compendium of Strange and Dark Stories: weird texts “will eat the books you read from today on … That is how the weird recruits. … These stories are worms” (1116).
These textual tapeworms led me to write an essay on the Weird and Usman T. Malik’s fiction in Harf: A Journal of South Asian Studies, an academic journal based at McGill University. The ways this genre twists language and representation became an object of fascination for me.
It was not long before I discovered the vast range of texts Ann and Jeff VanderMeer had compiled together in their anthology. Texts from the early twentieth century to the twenty-first are gathered here within the same sprawling volume, encompassing authors as diverse as Franz Kafka, Ray Bradbury, Rabindranath Tagore, James Triptree, Jr., George R.R. Martin, Julio Cortázar, Kelly Link, and Jamaica Kincaid. The anthology also includes contemporary authors of the New Weird, such as China Miéville and Thomas Ligotti. In all, 110 texts appear in this collection, each originally published between 1909 and 2010.
The Weird creates the predecessors of the New Weird movement, an act of canonization. However, Miéville emphasizes that this compendium “does not, nor could it, enshrine one set of texts. Without motion–of crawling and wringing time–there is no Weird. All canons are tombs, yes, but this collection is a post-elegy, wearing / an eaten shroud / –a long-dead rag for the dead” (1116). Weird fiction frustrates our categories and subverts our reassurances of permanency and order.
This project is an excavation of that canonical tomb. It is an archaeology of the weird.
My goal will be to post weekly reflections on the earliest stories in Ann and Jeff VanderMeer’s compendium throughout the month of October. I hope to learn something about how the genre developed the way it did. I also hope to figure how the weird produces some of the stylistic effects it is famous for making. And lastly, like a pulp archaeologist in the adventure serials, I may find my cold, rational logic challenged by the sudden manifestation of the realities human beings were never meant to understand…
It promises to be fun.
My first post will be on an excerpt of Alfred Kubin’s The Other Side (1908), the first story included in Ann and Jeff VanderMeer’s anthology. The posts will appear weekly on Saturday mornings.