Today we’re publishing the 38th entry in our 101 Weird Writers series. It’s the final entry of 2015 for the Weird Writers series and we’re almost halfway through the list. We created the Weird Writers series as a companion to The Weird: A Compendium of Strange and Dark Stories in which each article in the series focuses on a particular story and author from The Weird. So far we’ve seen an incredible and diverse list of writers from all over the globe – from German to Finland, Benin to Italy, from 1907 to 2007.
We’ve got an eclectic list of writers lined up for 2016 and beyond but for now we thought we should recap by compiling a list of the first 38 entries so that readers could peruse them at their leisure. These articles contain fantastic tidbits of knowledge about the Weird along with great insights and analyses so be sure to check them out.
- Bob Leman: A Window into the Work of an Underrated Story Writer
- Augusto Monterroso: A Journey Into the Weird World of “Mister Taylor”
- Julio Cortázar: Examining the Strange Transformation of “Axolotl”
- Dino Buzzati: Interpretations of Buzzati and “The Colomber”
- Eric Basso: The Dissolving World of “The Beak Doctor”
- Brian Evenson: Strange Salvation in “The Brotherhood of Mutilation”
- Georg Heym: The Expressionistic Power of Heym and “The Dissection”
- Mercè Rodoreda: The Weirdness and Estrangement in “The Salamander”
- Margaret Irwin: The Monstrous Allure of “The Book”
- Tanith Lee: The Triumph of the Unseen in “Yellow and Red”
- Luigi Ugolini: Uncanny Nature in “The Vegetable Man”
- Mervyn Peake: Umbrageous Legacy — Mervyn Peake’s Portrait Gallery
- Jerome Bixby: Strange Survival in “It’s a Good Life”
- Charles Beaumont: The Nature of Evil in “The Howling Man”
- Elizabeth Hand: Trauma and Connection in “The Boy in the Tree”
- Kathe Koja: Weird Bodies, Weird Language of “Angels in Love”
- William Gibson and John Shirley: Strange Tribes in “The Belonging Kind”
- Leena Krohn: Change and Transformation in Tainaron
- Algernon Blackwood: Strange Wilderness in “The Willows”
- Jamaica Kincaid: The Weird, Realism & Intensities of Language in “My Mother”
- Caitlín R. Kiernan: The Slippery Reality of “A Redress for Andromeda”
- George R.R. Martin: The Colonial Nightmare in “Sandkings”
- Laird Barron: Stages of Horrific Vision in “The Forest”
- Olympe Bhêly-Quénum: Dreams, Death & the African Weird in “A Child in the Bush of Ghosts”
- Bruno Schulz: The Fragile Reality of “Sanatorium Under the Sign of the Hourglass”
- Octavia Butler: Strange Symbiosis in “Bloodchild”
- Joanna Russ: Female Identity in “The Little Dirty Girl”
- Gahan Wilson: Hearts Like Oysters in “The Sea Was Wet As Wet Could Be”
- Michael Cisco: Elements of Degeneration in “The Genius of Assassins”
- Margo Lanagan: Spectacle and Shame in “Singing My Sister Down”
- Fritz Leiber: Grit and Social Dynamics in “Smoke Ghost”
- Marc Laidlaw: Art, Death, and Strangeness in “The Diane Arbus Suicide Portfolio”
- Stephen Graham Jones: The Metaphysical Prisons of “Little Lambs”
- Amos Tutuola: “A Nightmare of Indescribable Adventures”: Style and “The Complete Gentleman”
- Robert Aickman: May Bury You (On Robert Aickman’s “The Hospice”)
- Saki: What the Weird Knows — Conradin’s Secret Arts
- Kelly Link: Sex, Death and the Man-Omelet in “The Specialist’s Hat”
- Leonora Carrington: Seeing Rabbits and Falling Fingers