One has to remember, though, that all these names are but artificial constructs created to examine and categorize fiction after it’s been written in order to study or sell it. Authors (good ones, at least) don’t tend to worry about such categorizations while writing. What makes weird fiction “Weird” is the author’s desire to tell stories in a different way or with different tools than have been traditionally used. But that’s the same for all leading movements of art, I’d think. I don’t argue that Weird fiction is an interesting and distinct place, I just argue from the perspective that it’s not far enough from its precedents that it can be branched. The Weird is simply new Horror.

Simon Strantzas
Interview with David Davis for Weird Review 27th September 2016

We live in uncertain times. We have always lived in uncertain times. I think what makes the weird inherently attractive is that it speaks to a part of us that knows, consciously or not, that the rules we play by, the realities we choose to agree to and normalize, have cracks in them. Increasingly, I think that putting realist modes and non‐realistic modes at opposite ends of the spectrum does a disservice to both. Realism is conservative in that it tells us what we believe is real is in fact real. But it isn’t. It’s also consensual, questionable, open to interpretation, and often ignorant of other, competing narratives. We are in a moment when the consensus is beginning to shift. Non‐realist modes seem to help us get a handle on this faster because they teach us the consensus was never absolute to begin with. People were excluded, people dissented. This breakdown is enjoyable at some level even as it’s also frightening. It means elements of our lives which we lacked the ability or will to question suddenly seem disputable, something we can fight back against. Breakdown gives us an opportunity to see what lies beneath, for better or worse. Increasingly what strikes me as strange about Lovecraft’s fiction is the sense that once the monstrous is encountered, the only options are madness, forgetting or death. And that in its own way is a conservative way of thinking: there are many more options. Resistance, recuperation, remembering, rebirth. This is the energy that comes from the collapse of the consensus — the possibility of change.

Helen Marshall
Interview with David Davis,
Weird Review 15th November 2017

a glimpse of the future

In weird fiction I am a great admirer of many classic writers in the genre. If I had to pick out one, apart from those you mention, it would be Walter de la Mare. He is today perhaps best known for his poetry, in particular his sublimely creepy poem “The Listeners”. However, he was a great short story writer and deserves to rank alongside, Chekhov, Maupassant and Kipling as one of the supreme masters of the short form. Most of his best tales have something of the strange and supernatural about them (the same incidentally applies, if to a slightly lesser extent, to Kipling, Maupassant and Chekhov): “All Hallows”, “Mr Kempe”, “Crewe”, “Seton’s Aunt” and “A Recluse” are among his finest. Other writers important to my formation as a writer are playwrights such as Pinter and Ayckbourn, Dickens of course, Saki, Anthony Powell and Evelyn Waugh. Finally I was greatly influenced by my aunt the novelist and poet Stella Gibbons whose biography I wrote and who encouraged my writing at an important early stage.

Reggie Oliver
Interview for Fata Libelli