I know that without New Weird, it would have been harder for me to find publication by commercial and foreign language publishers. This is probably doubly true for writers like K. J. Bishop, who had not already had books out by 2001. In a trickle-down effect, I also believe this atmosphere has helped decidedly non-New Weird writers like Hal Duncan, whose own brand of weirdness is much more palatable in the wake of the "New Weird explosion."*
The other truth is that even though heroic fantasy and other forms of genre fiction still sell much better than most New Weird books, New Weird writers partially dominated the critical and awards landscape for almost half a decade.*
In a similar way, New Weird has become shorthand for readers, who don't care about the vagaries of taxonomy so much as "I know it when I read it." For this reason, writers such as Kelly Link, Justina Robson, and Charles Stross have all been, at one time or another, identified as New Weird. These reader associations occur because when encountering something unique most of us grab the label that seems the closest match so we can easily describe our enthusiasm to others. (The result of both carefree readers and some careless academics has been to make it seem as if New Weird is as indefinable and slippery a term as "interstitial.")
The effect of New Weird outside of England, North America, and Australia has been various but often dynamic. New Weird has, in some countries, already mutated and adapted as an ever-shifting "moment" ― as well as a potent label for publishers. In some places "New Weird" has become uniquely independent of what anyone associated with the original discussion in 2003 now thinks of the term and its usefulness. For example, in Finland you can say without equivocation that Kelly Link is New Weird.
In addition, as alluded to earlier in this introduction, many of the writers associated with New Weird and collected in this volume are already transforming into something else entirely, while new writers like Alistair Rennie (whose story is original to this anthology), have assimilated the New Weird influence, combined it with yet other stimuli, and created their own wonderfully bizarre and transgressive recombination.
This speaks to the nature of art: as soon as something becomes popular or familiar, the true revolution moves elsewhere. Sometimes the writers involved in the original radicalism move on, too, and sometimes they allow themselves to be left behind.
A WORKING DEFINITION OF NEW WEIRD
Following the aftermath of all of this discussion, research, and reading, the opportunity to create a working definition of twenty-first-century New Weird now presents itself:
New Weird is 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 has a visceral, in-the-moment quality that often uses elements of surreal or transgressive horror for its tone, style, and effects ― in combination with the stimulus of influence from New Wave writers or their proxies (including also such forebears as Mervyn Peake and the French/English Decadents). New Weird fictions are acutely aware of the modern world, even if in disguise, but not always overtly political. As part of this awareness of the modern world, New Weird relies for its visionary power on a "surrender to the weird" that isn't, for example, hermetically sealed in a haunted house on the moors or in a cave in Antarctica. The "surrender" (or "belief") of the writer can take many forms, some of them even involving the use of postmodern techniques that do not undermine the surface reality of the text.
This definition presents two significant ways in which the New Weird can be distinguished from Slipstream or Interstitial fiction. First, while Slipstream and Interstitial fiction often claim New Wave influence, they rarely if ever cite a Horror influence, with its particular emphasis on the intense use of grotesquery focused around transformation, decay, or mutilation of the human body. Second, postmodern techniques that undermine the surface reality of the text (or point out its artificiality) are not part of the New Weird aesthetic, but they are part of the Slipstream and Interstitial toolbox.
THIS ANTHOLOGY
We hope that this anthology will provide a rough guide to the moment or movement known as "New Weird" ― acknowledging that the pivotal "moment" is behind us, but that this moment had already lasted much longer than generally believed, had definite precursors, and continues to spread an Effect, even as it dissipates or becomes something else. (And who knows? Another pivotal "moment" may be ahead of us.)
In this anthology, you will find a "Stimuli" section that includes both New Wave and New Horror examples, along with work by fence-straddlers like Simon Ings and Thomas Ligotti. You will also find an "Evidence" section that pulls New Weird examples from pulp and the literary mainstream, from dark fantasy and from foreign language sources. To highlight just a few of these selections, China Miéville's "Jack," stripped-down and gracefully gruff and ironic, revisits the New Crobuzon of his novels, in much the same way as Jeffrey Ford revisits a proto-Well-Built City setting in "At Reparata." Other highlights include the Brian Evenson's Beckett-Kafka-esque take on Gormenghast in "Watson's Boy," the unabashed decadence of K. J. Bishop's "The Art of Dying," and the frenzied post-New Weird grotesquery of Alistair Rennie's "The Gutter Meets the Light That Never Shines," a story original to this anthology that showcases the effect of combining New Wave and New Horror elements with pop culture and comics influences.
The "Symposium" section preserves the beginning of the message board thread about New Weird begun by M. John Harrison in 2003,* along with Michael Cisco's essay from the year after, and three pieces written specially for this volume: scholar and writer Darja Malcolm-Clarke's "Tracking Phantoms," an exploration of her changing views on New Weird; writer K. J. Bishop's "Whose Words You Wear," her thoughts on the effects of labeling; and "European Editor Perspectives on the New Weird," which charts the influence and permutations of the term across several different countries. Finally, in "Laboratory" we asked several writers existing outside of or on the fringe of New Weird* to create a round-robin story that showcases, in fictional form, their own manifestation of the term. This section was never meant to be a complete story ― more a series of vignettes ― but the results are cohesive and fascinating.
Ann and I still have reservations about the term New Weird, but in our readings, research, and conversations, we have come to believe the term has a core validity. The proof is that it has taken on an artistic and commercial life beyond that intended by those individuals who, in their inquisitiveness about a "moment," unintentionally created a movement. It is still mutating forward through the work of a new generation of writers, as well.
Finally, anyone who reads the initial New Weird discussions will find that the term arose from a sense of curiosity, of play, of (sometimes bloody-minded) mischievousness, and from a love for fiction. We offer up this anthology in the spirit of the best of that original discussion.
New Weird is dead. Long live the Next Weird.
1) By Miéville’s own admission, and not meant as a pejorative here.
2) Miéville attempted to place this political element within a complex, multifaceted context, but the reality of how ideas are transmitted meant that this complexity was stripped away as the thought spread and was re-transmitted, each time more constraining and less interesting.
3) The constant flux-and-flow of support and lack of support for New Weird in the same individuals would be taken as “waffling” in a politician. In a writer, it is part of the necessary testing and re-testing connected to one’s writing, as well as part of the need to continually be open to and curious about the world.
4) By now, this effect may have begun to fade, like all marketing trends, but the writers blessed by its effects now have careers autonomous from the original umbilical cord.
5) Inasmuch as there is a “Godfather” or “protective angel” of New Weird, that person would be Peter Lavery, editor at Pan Macmillan, who took a chance on M
iéville, Bishop, Duncan, me, and several other “strange” writers.
6) At the same time, New Weird has largely failed to penetrate the awareness of the literary mainstream, probably because of its secondary-world nature, which is almost always a barrier to breaking out of the genre “ghetto.”
7) The catalyst probably being comments by Steph Swainston.
8) Felix Gilman being an exception ― a new writer who unabashedly points to New Weird influence.
STIMULI
The Luck in the Head
M. JOHN HARRISON
UROCONIUM, Ardwick Crome said, was for all its beauty an indifferent city. Its people loved the arena; they were burning or quartering somebody every night for political or religious crimes. They hadn't much time for anything else. From where he lived, at the top of a tenement on the outskirts of Montrouge, you could often see the fireworks in the dark, or hear the shouts on the wind.
He had two rooms. In one of them was an iron-framed bed with a few blankets on it, pushed up against a washstand he rarely used. Generally he ate his meals cold, though he had once tried to cook an egg by lighting a newspaper under it. He had a chair, and a tall white ewer with a picture of the courtyard of an inn on it. The other room, a small north-light studio once occupied ― so tradition in the Artists' Quarter had it ― by Kristodulos Fleece the painter, he kept shut. It had some of his books in it, also the clothes in which he had first come to Uroconium and which he had thought then were fashionable.
He was not a well-known poet, although he had his following.
Every morning he would write for perhaps two hours, first restricting himself to the bed by means of three broad leather straps which his father had given him and to which he fastened himself, at the ankles, the hips, and finally across his chest. The sense of unfair confinement or punishment induced by this, he found, helped him to think.
Sometimes he called out or struggled; often he lay quite inert and looked dumbly up at the ceiling. He had been born in those vast dull ploughlands which roll east from Soubridge into the Midland Levels like a chocolate-coloured sea, and his most consistent work came from the attempt to retrieve and order the customs and events of his childhood there: the burial of the "Holly Man" on Plough Monday, the sound of the hard black lupin seeds popping and tapping against the window in August while his mother sang quietly in the kitchen the ancient carols of the Oei'l Voirrey. He remembered the meadows and reeds beside the Yser Canal, the fishes that moved within it. When his straps chafed, the old bridges were in front of him, made of warm red brick and curved protectively over their own image in the water!
Thus Crome lived in Uroconium, remembering, working, publishing. He sometimes spent an evening in the Bistro Californium or the Luitpold Cafe. Several of the Luitpold critics (notably Barzelletta Angst, who in L'Espace Cromien ignored entirely the conventional chronology ― expressed in the idea of "recherche" ― of Crome's long poem Bream into Man) tried to represent his work as a series of narrativeless images, glued together only by his artistic persona. Crome refuted them in a pamphlet. He was content.
Despite his sedentary habit he was a sound sleeper. But before it blows at night over the pointed roofs of Montrouge, the southwest wind must first pass between the abandoned towers of the Old City, as silent as burnt logs, full of birds, scraps of machinery, and broken-up philosophies: and Crome had hardly been there three years when he began to have a dream in which he was watching the ceremony called "the Luck in the Head."
For its proper performance this ceremony requires the construction on a seashore, between the low and high tide marks at the Eve of Assumption, of two fences or "hedges." These are made by weaving osiers ― usually cut at first light on the same day ― through split hawthorn uprights upon which the foliage has been left. The men of the town stand at one end of the corridor thus formed; the women, their thumbs tied together behind their backs, at the other. At a signal the men release between the hedges a lamb decorated with medallions, paper ribbons, and strips of rag. The women race after, catch it, and scramble to keep it from one another, the winner being the one who can seize the back of the animal's neck with her teeth. In Dunham Massey, Lymm, and Iron Chine, the lamb is paraded for three days on a pole before being made into pies; and it is good luck to obtain the pie made from the head.
In his dream Crome found himself standing on some sand dunes, looking out over the wastes of marram grass at the osier fences and the tide. The women, with their small heads and long grey garments, stood breathing heavily like horses, or walked nervously in circles avoiding one another's eyes as they tested with surreptitious tugs the red cord which bound their thumbs. Crome could see no one there he knew. Somebody said, "A hundred eggs and a calf's tail," and laughed. Ribbons fluttered in the cold air: they had introduced the lamb. It stood quite still until the women, who had been lined up and settled down after a certain amount of jostling, rushed at it. Their shrieks rose up like those of herring gulls, and a fine rain came in from the sea.
"They're killing one another!" Crome heard himself say.
Without any warning one of them burst out of the melee with the lamb in her teeth. She ran up the dunes with a floundering, splay-footed gait and dropped it at his feet. He stared down at it.
"It's not mine," he said. But everyone else had walked away.
He woke up listening to the wind and staring at the washstand, got out of bed and walked round the room to quieten himself down. Fireworks, greenish and queasy with the hour of the night, lit up the air intermittently above the distant arena. Some of this illumination, entering through the skylight, fell as a pale wash on his thin arms and legs, fixing them in attitudes of despair.
If he went to sleep again he often found, in a second lobe or episode of the dream, that he had already accepted the dead lamb and was himself running with it, at a steady premeditated trot, down the landward side of the dunes towards the town. (This he recognised by its slate roofs as Lowick, a place he had once visited in childhood. In its streets some men made tiny by distance were banging on the doors with sticks, as they had done then. He remembered very clearly the piece of singed sheepskin they had been making people smell.) Empty ground stretched away on either side of him under a motionless sky; everything ― the clumps of thistles, the frieze of small thorn trees deformed by the wind, the sky itself ― had a brownish cast, as if seen through an atmosphere of tars. He could hear the woman behind him to begin with, but soon he was left alone. In the end Lowick vanished too, though he began to run as quickly as he could, and left him in a mist or smoke through which a bright light struck, only to be diffused immediately.
By then the lamb had become something that produced a thick buzzing noise, a vibration which, percolating up the bones of his arm and into his shoulder, then into the right side of his neck and face where it reduced the muscles to water, made him feel nauseated, weak, and deeply afraid. Whatever it was he couldn't shake it off his hand.
Clearly ― in that city and at that age of the world ― it would have been safer for Crome to look inside himself for the source of this dream. Instead, after he had woken one day with the early light coming through the shutters like sour milk and a vague rheumatic ache in his neck, he went out into Uroconium to pursue it. He was sure he would recognise the woman if he saw her, or the lamb.
She was not in the Bistro Californium when he went there by way of the Via Varese, or in Mecklenburgh Square. He looked for her in Proton Alley, where the beggars gaze back at you emptily and the pavement artists offer to draw for you, in that curious mixture of powdered chalk and condensed milk they favour, pictures of the Lamia, without clothes or without skin, with fewer limbs or organs than normal, or more. They couldn't draw the woman he wanted. On the Unter-Main-Kai (it was eight in the morning and the naphtha flares had grown smoky and dim) a boy spun and tottered among the crowds from the arena, declaiming in a language no one knew. He bared his shaven skull, turned his bony face upwards, mouth open. Suddenly he drove a long thorn int
o his own neck: at this the women rushed up to him and thrust upon him cakes, cosmetic emeralds, coins. Crome studied their faces: nothing. In the Luitpold Cafe he found Ansel Verdigris and some others eating gooseberries steeped in gin.
"I'm sick," said Verdigris, clutching Crome's hand.
He spooned up a few more gooseberries and then, letting the spoon fall back into the dish with a clatter, rested his head on the tablecloth beside it. From this position he was forced to stare up sideways at Crome and talk with one side of his mouth. The skin beneath his eyes had the shine of wet pipe clay; his coxcomb of reddish-yellow hair hung damp and awry; the electric light, falling oblique and bluish across his white triangular face, lent it an expression of astonishment.
"My brain's poisoned, Crome," he said. "Let's go up into the hills and run about in the snow."
He looked round with contempt at his friends, Gunter Verlac and the Baron de V-, who grinned sheepishly back.
"Look at them!" he said. "Crome, we're the only human beings here. Let's renew our purity! We'll dance on the lips of the icy gorges!"
"It's the wrong season for snow," said Crome.
"Well, then," Verdigris whispered, "let's go where the old machines leak and flicker, and you can hear the calls of the madmen from the asylum up at Wergs. Listen ― "
"No!" said Crome. He wrenched his hand away.
"Listen, proctors are out after me from Cheminor to Mynned! Lend me some money, Crome, I'm sick of my crimes. Last night they shadowed me along the cinder paths among the poplar trees by the isolation hospital."
He laughed, and began to eat gooseberries as fast as he could.
"The dead remember only the streets, never the numbers of the houses!"
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