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

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Lists

The Neo-Decadent Cookbook by Brendan Connell

I Wonder What Human Flesh Tastes Like by Justin Isis

Neo-Decadence

69 books — 40 voters

The Undying Monster by Jessie Douglas Kerruish

Obscure Late 19th/Early 20th Century Horror Novels

135 books — 8 voters

The Haunting of Hill House by Shirley Jackson

The House on the Borderland by William Hope Hodgson

Pre-1980 Weird Fiction

22 books — 8 voters

Las cosas que perdimos en el fuego by Mariana Enriquez

Ficción Weird en Español

123 books — 9 voters

Fear and Loathing in Las Vegas by Hunter S. Thompson

Books With the Best First Chapter

35 books — 11 voters

My Work is Not Yet Done by Thomas Ligotti

The Conspiracy Against the Human Race by Thomas Ligotti

Songs of a Dead Dreamer by Thomas Ligotti

The Best of Thomas Ligotti

19 books — 35 voters

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Quotes Tagged “Weird Fiction”

“ Fransk balkong, tror jeg de kaller sånne små selvmordsutvekster, akkurat store nok til å hoppe fra og ikke stort mer. ”
― Tone Wasbak Melbye, Wales and the art of fine dying

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“ The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessa The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time. ...more ”
― Ashim Shanker, Don't Forget to Breathe

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