The New Weird - Ann VanderMeer [161]
The New Weird, as I've said, is a topic for critics and not so much for writers. Nothing could be more unenlightening or useless than a New Weird manifesto. What strikes the observer is precisely the spontaneity with which so many different writers, pursuing such obviously disparate literary styles, should vaguely intersect in this way. Instead of a set of general aims, we have a great proliferation of correspondences on a more intimate level, like a sprawling coincidence of idiosyncratic choices. Mapping out a scheme won't yield us much insight into what's going on, although it might add something interesting of its own. The richness of this new writing recommends a depth-diving model rather than a breadth-sweeping one, such that none of its variety or perversion is planned out. The writing in question is more extensively and usefully defined by the unconscious or spontaneous choices the authors are making than by the directed ones; maybe this is most often the case. Certainly, none of the writers thus far invoked have, to my knowledge, set out to be New Weird writers, in the way that Andre Breton et al set out to be Surrealists.
Why pronunciations and definitions, if not to elicit counter claims? Sometimes it seems as though the winners in these matters prevail more as a consequence of sheer exhaustion, which can mean a depletion of the store of endurance but just as readily of the store of interest, so that the received definition of any given wave is the final score in a game called on account of rain and indefinitely, maybe permanently, postponed thereafter. The New Weird has come into being, such as it is and whatever it should be, on its own and not by dint of any decision or program, so the attribution of decisions and schemes to it ought to be seen as prescriptions rather than as descriptions. This is only a problem if the prescription is mistaken for a description, that is to say, X, precisely because he believes the New Weird is such and such, doesn't say this is what it "should be," he says rather "this is what it is."
It's not as though literature preserves a province unto itself, and that genre stands in compartments below the level of general literature. All works of literature will express characteristics of genre. In his prologue to The Invention of Morel, by Adolfo Bioy Casares, Borges touches on the tendency to disparage the adventure story, the mystery story, and contrasts them to the "formless" modern psychological novel. The formless psychological novel is a genre which, more so at the time in which Borges was writing and somewhat less so now, ascended to preeminence on the smoldering remains of other genres. It may be that, in order to exist, genres may engage in a weird disembodied war that cannot be entirely explained in market or in aesthetic terms. More likely, this war is a blind for something more frankly political.
The distinction between genre literature and general literature is bogus, at least in any non-colloquial sense of these terms. What is "general literature"? If we begin to define it, even assuming this definition can be uncontroversial, we are already outlining tendencies or rules which are indistinguishable in kind from those that are used to define genre literature. The distinction between genre and general is an evaluation from the outset, and not an innocent differentiation. The New Weird might be better defined as a refusal to accept this evaluation of imaginative literature, whatever form it may take. So it is not for reasons of influence alone that such authors as Borges, Calvino, Angela Carter are invoked by many of those in the imaginative camp, but also because these authors are obviously both fantastic and literary. Each after their own fashion, as you