Lovecraft’s preoccupation was with the threat to this figure’s supremacy from the weird outside. . ... After weeks in hospital with a newborn, one mum wanted to treat herself to a new hairstyle but the at home dye job didn't exactly go to plan. New Weird has potential to do something different. Both fans of steampunk and readers for whom it’s a foreign concept should find this collection rewarding.”“The VanderMeers, ardent steampunkers themselves, historically sample that fantasy genre in which the Victorian era is reimagined to include Martian technology, steam-powered robots, airships, alchemy, and various anachronistic technologies.”“In addition to offering a quick-shot education in the history and development of the genre, it also contains some truly excellent short fiction. . The New Weird Anthology by Jeff and Ann Vandermeer. Weird News. We don’t see it happening, but the straightforward implication of the plot is that a person becomes a tree. Descend into shadowy cities, chaotic festivals, and deadly cults. This canonic anthology collects the original online debates first defining the New Weird and critical writings from international editors, culminating in a ground-breaking round-robin piece, “Festival Lives,” which features some of the hottest new names in New Weird fiction.“This collection of 16 stories and essays, including a round-robin (‘Festival Lives’) in seven parts plus a conclusion available on the publisher’s website, presents a select sample of previously published and new examples of the ‘new weird.’… Highly recommended for all libraries interested in the latest in SF and fantasy as well as modern horror.”“The first comprehensive anthology of the movement….”“…mix(es) elements of sci-fi, fantasy, and horror into a style that reaches back to Lovecraft and Jack Vance while grasping at the darker future of speculative fiction.”“If you’re into ‘lit-speak’ and the debate over what any of this means, this is your kind of collection. But here, the sudden absence of a human actor occasions a sudden presence: the presence of landscape, the presence of the plants. Plunge into terrifying domains, where bodies are remade into surreal monstrosities, where the desperate rage against brutal tyrants.
It’s no accident that the figure who becomes absent in this story is a girl. Fiction like Atwood’s often seems to work on both levels of The Atwood story is a perfect example of The Weird, according to the definition of weirdness provided by the late Mark Fisher in his 2016 book, Importantly, Fisher says the weird is not simply the awareness of this outside, but the perceptual flip that happens upon awareness, when you see back at the The other term Fisher uses to augment and distinguish the weird is the eerie. Eventually, and it’s not exactly clear when or how, the woman becomes indistinguishable from a tree. .
Where everything is lethal and no one is innocent, where Peake began and Lovecraft left off—this is where you will find the New Weird.Edgy, urban fiction with a visceral immediacy, the New Weird has descended from classic fantasy and dime-store pulp novels, from horror and detective comics, from thrillers and noir. Lovecraft—best known for his now-famous 1926 story “The Call of Cthulu” about a horrific, compelling, tentacled, ancient creature who rises from the depths of time and overwhelms the main character’s sense of empirical reason and human agency. Anne and Jeff VanderMeer have gathered many of the gnarliest examples of the genre in their “…dark pseudo-Victorian fun…a great deal to offer the casual reader and the critic alike….”“…from the inception of steampunk right up through today…a great book…. Descend into shadowy cities, chaotic festivals, and deadly cults. (One one level, the term is simply useful insofar as it delineates a market category in order to sell books; increasingly you’ll find it as a bookstore label or an Amazon keyword. And the thing formerly thought of as presiding over the landscape, namely the human, suddenly seems to have fewer powers. Fascination with and fear of the Other are embedded in classic weird tales—in which the white guy is the figure and everyone/everything else is landscape.New Weird has potential to do something different.
Sure, the idea of woman-becoming-vegetation operates on a metaphorical register, and it’s possible to read a story like Atwood’s as a metaphor for female adolescence; for the naturalization of women’s social positions; for environmental awareness; for friendship; or even just for death.But the story also operates on a very concrete level.
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