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WFR's 101 Weird Writers #20. Year’s Best Weird Fiction – Undertow Publications. Each volume of the Year’s Best Weird Fiction will feature a different guest editor.

Year’s Best Weird Fiction – Undertow Publications

The Series Editor is Michael Kelly. Weird fiction is a diverse and eclectic mode of literature, and we are excited to see varying viewpoints. In fact, we are confident that the volume will see little if any overlap with the various other “Best Of” anthologies. Jackson: "The Intoxicated" (1949) "The Intoxicated" By Shirley Jackson (1949) HE WAS JUST TIGHT ENOUGH and just familiar enough with the house to be able to go out into the kitchen alone, apparently to get ice, but actually to sober up a little; he was not quite enough a friend of the family to pass out on the living-room couch.

Jackson: "The Intoxicated" (1949)

He left the party behind without reluctance, the group by the piano singing "Stardust," his hostess talking earnestly to a young man with thin clean glasses and a sullen mouth; he walked guardedly through the dining-room where a little group of four or five people sat on the stiff chairs reasoning something out carefully among themselves; the kitchen doors swung abruptly to his touch, and he sat down beside a white enamel table, clean and cold under his hand. He put his glass on a good spot in the green pattern and looked up to find that a young girl was regarding him speculatively from across the table. "Hello," he said. "You the daughter? " "I'm Eileen she said.

101 Weird Writers #24. This post is part of an ongoing series on 101 weird writers featured in The Weird compendium, the anthology that serves as the inspiration for this site.

101 Weird Writers #24

There is no ranking system; the order is determined by the schedule of posts. Olympe Bhêly-Quénum (1928 – ) is a Beninese writer, journalist, literary critic, and researcher. Born in Ouidah, Benin, Bhêly-Quénum won the Grand prix littéraire de l’Afrique noire for Le Chant du lac in 1966. He moved to France in the late 1940’s and lives there today. Fourteen Notable Women Writers of the Weird. Recently, we compiled a massive 750,000-word, 1,200-page anthology The Weird: A Compendium of Strange and Dark Stories (Atlantic/Tor), which covers 100 years of weird fiction.

Fourteen Notable Women Writers of the Weird

In doing so, we revisited many old favorites and discovered new ones. This included discovery of our thoughts about some of the best women writers of weird fiction. Although there were many women writing in a ghost story and/or traditional Gothic mode in the first half of the twentieth-century, there weren’t that many women writers of the weird. This began to change in the 1950s in North America, the United Kingdom, and Australia, a shift reflected in the ratio of male to female writers in the latter half of The Weird. There is also often just as much of a barrier to women writers in non-US/UK markets that limits their visibility in English translations—even today. How does weird fiction differ from horror and fantasy? K.J. Caitlín R. Margaret St. Year’s Best Weird Fiction – Undertow Publications. The Uncanny Power of Weird Fiction. In volume one of Clive Barker’s Books of Blood series, the 1984 story “In the Hills, the Cities” describes how the citizenry of competing villages lash themselves together to form giant human figures as tall as skyscrapers, which wage bloody war upon each other in remote valleys.

The Uncanny Power of Weird Fiction

In Georg Heym’s 1913 story, “The Dissection,” a dead body in an autopsy room “quivers with happiness,” revealing a form of hidden life. Contemporary Finnish writer Leena Krohn’s novel, Tainaron, is told in letters from a nameless correspondent visiting a city lit by the glow of its residents: intelligent insects. The titular character of Haruki Murakami’s “Ice Man,” indeed made of ice, is changed in subtle yet powerful ways by a trip to a frozen land. The Weird: An Introduction. (Image by Jeremy Zerfoss) Buy The Weird compendium here… A “weird tale,” as defined by H.P.

The Weird: An Introduction

Lovecraft in his nonfiction writings and given early sanctuary within the pages of magazines like Weird Tales (est. 1923) is a story that has a supernatural element but does not fall into the category of traditional ghost story or Gothic tale, both popular in the 1800s. As Lovecraft wrote in 1927, the weird tale “has something more than secret murder, bloody bones, or a sheeted form clanking chains.” Instead, it represents the pursuit of some indefinable and perhaps maddeningly unreachable understanding of the world beyond the mundane—a ‘certain atmosphere of breathless and unexplainable dread” or “malign and particular suspension or defeat of…fixed laws of Nature”—through fiction that comes from the more unsettling, shadowy side of the fantastical tradition.

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