Most Read This Week In Weird Fiction

A “weird tale,” as defined by H.P. 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 A “weird tale,” as defined by H.P. 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.

Weird fiction - since its rise to prominence in the 1890s - has long been the generic depository for literature that seamlessly fits the definitions of several genres of speculative fiction. If it wasn't exactly horror or fantasy, quite possibly it could be termed weird. In fact, a basic definition of weird fiction could truthfully be a story that combines elements of fantasy and horror. A broader definition would be a story that includes and merges any number of plot devices, elements, sensibilities, and tropes of horror, science fiction, fantasy, the ghost story, supernatural fiction, mythology, mystery, or Gothic fiction. Literature that includes standards from more than one of these traditions might be considered weird.

Michael Kelly, editor of Weird Horror magazine, agrees that to properly define and categorize the term "weird fiction" could be a difficult task. He writes:
”[…] it can often be unclassifiable and hard to precisely define. […] In my view weird fiction is speculative, and often (but not always) works to explore and subvert the laws of nature, or the natural order. I like to think of it as an unceasing distortion and buckling of ambient space and time; where plot, theme, atmosphere and voice coalesce. Hence, the lens from which you view the world is askew and occluded. A feeling. A mood. A sense of dislocation. Weird fiction is a large umbrella, encompassing many modes of fiction. Before genre rules were established, weird fiction could be said to consist of the science fictional, the ghostly supernatural, the mythical, the cosmic, and the fantastic. An extensive mode of literature. In that regard it shares many properties with its Horror brethren. It’s why weird fiction is, I’d say, most commonly associated with horror fiction. [...] Weird fiction, perhaps more than any other mode, is fluid, adaptable, and ever-changing. I certainly take an expansive view of it, not constrained to the American-based strand (terror and awe) or the European-based (strange tale).”

This view finds further resonance in noted writer Simon Strantzas’ statement: “Instead, these sorts of stories exist in a liminal world of rationalities where things are not quite right. Slightly askew, their axes tilted, they are stories where the everyday is corrupted just enough that the strange can leak through.”
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Most Read This Week Tagged "Weird Fiction"

If This Book Exists, You're in the Wrong Universe (John Dies at the End, #4)

Crypt of the Moon Spider (Lunar Gothic Trilogy, #1)

Tales from the Gas Station: Volume Four (Tales from the Gas Station #4)

Zoey Is Too Drunk for This Dystopia (Zoey Ashe, #3)

H.P. Lovecraft's The Shadow Over Innsmouth

Cathedral of the Drowned (The Lunar Gothic Trilogy, #2)

Escape from Yokai Land (Laundry Files, #6.5)

The Wind Began to Howl (Isaiah Coleridge, #3.5)

Circles of Stone: Weird Tales of Pagan Sites and Ancient Rites (British Library Tales of the Weird)

Fearsome Fairies: Haunting Tales of the Fae

The Call of Cthulhu and Dagon: A Graphic Novel (Graphic Classics)

Our Haunted Shores: Tales from the Coasts of the British Isles (British Library Tales of the Weird)

Deadly Dolls: Midnight Tales of Uncanny Playthings (British Library Tales of the Weird)

Under Twin Suns: Alternate Histories of the Yellow Sign

Eerie East Anglia: Fearful Tales of Field and Fen (British Library Tales of the Weird)

Weird Walk: Wanderings and Wonderings through the British Ritual Year

The Repeater Book of the Occult: Tales from the Darkside

Playing with Fire: The Weird Tales of Arthur Conan Doyle

Weird Sisters: Tales from the Queens of the Pulp Era (British Library Tales of the Weird)

The Best American Science Fiction and Fantasy 2022

The Weird Tales of Dorothy K. Haynes (British Library Tales of the Weird)

Weird Horror Short Stories (Gothic & Fantasy)

Spectral Sounds: Unquiet Tales of Acoustic Weird (British Library Tales of the Weird)

A Sword of Bronze and Ashes (Sword of Bronze and Ashes, #1)

The Haunted Trail: Classic Tales of the Rambling Weird (British Library Tales of the Weird)

The Uncanny Gastronomic: Strange Tales of the Edible Weird (British Library Tales of the Weird)

In the Mad Mountains: Stories Inspired by H. P. Lovecraft

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Quotes Tagged “Weird Fiction”

“ Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in it Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable. Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow. And this may be the most defining element of the Mole Fly’s behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly’s olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time—for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception—they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness. The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions—that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose—with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance—a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees—yes, Mole Flies do, in fact, have knees!—before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen. ...more ”
― Ashim Shanker, Don't Forget to Breathe

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