The New Weird - Ann VanderMeer [160]
So I'm less interested in filling the contents list of an inward-facing collection, than in wondering how we organise and present ourselves when we face outwards. How we capitalise on the out-there response to [China Miéville's] The Scar or [my own] Light, or the fact that the broadsheets review pages are so suddenly interested in us all. What concerns me is who, in the New Weird, etc., is capable of speaking outwards with confidence, not inwards.
"New Weird": I Think We're the Scene
MICHAEL CISCO
LITERARY HISTORY is heavily invested in scenes and schools, portable assemblies (Surrealists, Romantics, Beats) put together by critics. Hindsight naturally makes this assembling work easier, at least in part because the mill of arguments will have ground to a halt (it's easier to snapshot a stationary object), and the vast profusion of determinative details that are so easily missed and which no one point of view, I think, can encompass, have been forgotten. Arguments about the meaning of a movement are any movement's primary content, regarded as something bigger than the sum of its parts; the questions and answers, the political map of positions, usually turn out to be more important than any resolution posited at the time, or, to put it better, those resolutions in the moment, rather than eliminating questions or arguments, join them in a general manifold. Trying to name and adequately describe the scene as it unfolds in the present is like cutting cookies out of the fog, but perhaps that irreducible vagueness should encourage people to try.
Now there is the sense of a trend, loosely identified with a heterogeneous company of writers as varied in their works as China Miéville and Jeffrey VanderMeer. For the sake of keeping ourselves in circulation, we might provisionally describe this as a tendency toward more literarily sophisticated fantasy. In bookstores, Fantasy means the Piers Anthony/ J. R. R. Tolkien section; the word is an abbreviation for a standard content, like a brand. A Midsummer Night's Dream, Alice in Wonderland, The Golden Ass, Gulliver's Travels or Naked Lunch are not shelved there, although they are all fantasies. This has everything to do with selling books, making sure the buyer finds what he or she is looking for, and reflects no judgment with regard to the literary status of this or that work of fantasy. A certain amount of work is produced specifically for the purpose of stocking shelves in the Fantasy section, where the index of novelty is best kept low. The serendipitous constellation of contemporary fantasy writers that belong to or generate the "New Weird" seem generally and in varying proportions to blend the influences of genre writing and literary fantasy, and to weave in non-fantastic signals as well.
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 a more widely broadcast spectrum of themes.
Every year The New Yorker releases its new fiction issue, profiling the important new writers, and every year they get it mostly wrong. An inessential, NPR tepidness prevails, and this is plainly not where it's at. Lucius Shepard's A Handbook of American Prayer is where it's at. Handbook, Veniss Underground, The Troika, The Portrait of Mrs. Charbuque, The Etched City, My Work Is Not Yet Done are not examples of good fantasy writing or good genre writing, but they are examples of good writing. Fantasy writing is no more inherently inessential than any other variety, and no more inherently escapist, either. What makes writing escapist is not a matter of whether or not it involves magic but whether or not it involves something meaningful.