New Weird

In the introduction to Ann and Jeff VanderMeer's anthology, The New Weird, New Weird is defined as "a type of urban, secondary-world fiction that subverts the romanticized ideas about place found in traditional fantasy, largely by choosing realistic, complex real-world models as the jumping off point for creation of settings that may combine elements of both science fiction and fantasy."

New Weird is largely inspired by the pulp horror serials of the past, such as those compiled in the magazine "Weird Tales," to which acclaimed horror author H.P. Lovecraft was a major contributor. New Weird, in
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There Is No Antimemetics Division
Absolution (Southern Reach #4)
If This Book Exists, You're in the Wrong Universe (John Dies at the End, #4)
Hollow
Ambergris (Ambergris, #1-3)
A Peculiar Peril (The Misadventures of Jonathan Lambshead, #1)
Gogmagog (The Chronicles of Ludwich #1)
Ludluda (The Chronicles of Ludwich, #2)
The Broken God (The Black Iron Legacy, #3)
Within Without
Creeping Jenny
The Shadow Saint (The Black Iron Legacy, #2)
The Navigating Fox
The Sunken Land Begins to Rise Again
Kill Six Billion Demons, Book 4: King of Swords
Perdido Street Station (New Crobuzon, #1)
Annihilation (Southern Reach, #1)
The Scar (New Crobuzon, #2)
The City & the City
Authority (Southern Reach, #2)
Iron Council (New Crobuzon, #3)
Acceptance (Southern Reach, #3)
Kraken
City of Saints and Madmen (Ambergris, #1)
Borne (Borne, #1)
Embassytown
The Etched City
The New Weird
Railsea
Finch (Ambergris, #3)

[T]he new weird represents a productive experiment in fantasy fiction. The New Wave of the 1960s and 1970s arguably embodied science fiction's claim to literary 'seriousness.' This desire for seriousness is not snobbery, as sometimes suggested by folks who overemphasize the entertainment function of speculative fiction; it's about recognition of the vast possibilities within the field. ...more
Darja Malcolm-Clarke

Michael Cisco
Poetry restores language by breaking it, and I think that much contemporary writing restores fantasy, as a genre of writing in contrast to a genre of commodity or a section in a bookstore, by breaking it. Michael Moorcock revived fantasy by prying it loose from morality; writers like Jeff VanderMeer, Stepan Chapman, Lucius Shepard, Jeffrey Ford, Nathan Ballingrud are doing the same by prying fantasy away from pedestrian writing, with more vibrant and daring styles, more reflective thinking, and ...more
Michael Cisco

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