Valerie
¯\(ã)/¯
- Aug 29, 2005
- 6,765
- 4
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I bought this at Borders this morning and read it in one sitting. I just got back from returning it and got my money back. Should I feel bad?
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You know what a library is right?
I bought this at Borders this morning and read it in one sitting. I just got back from returning it and got my money back. Should I feel bad?
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Because we remember pain and the menace of death more vividly than pleasure, and because our feelings toward the beneficent aspects of the unknown have from the first been captured and formalised by conventional religious rituals, it has fallen to the lot of the darker and more maleficent side of cosmic mystery to figure chiefly in our popular supernatural folklore. This tendency, too, is naturally enhanced by the fact that uncertainty and danger are always closely allied; thus making any kind of an unknown world a world of peril and evil possibilities. When to this sense of fear and evil the inevitable fascination of wonder and curiosity is superadded, there is born a composite body of keen emotion and imaginative provocation whose vitality must of necessity endure as long as the human race itself.
The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain -- a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space.
Atmosphere is the all-important thing, for the final criterion of authenticity is not the dovetailing of a plot but the creation of a given sensation. We may say, as a general thing, that a weird story whose intent is to teach or produce a social effect, or one in which the horrors are finally explained away by natural means, is not a genuine tale of cosmic fear; but it remains a fact that such narratives often possess, in isolated sections, atmospheric touches which fulfill every condition of true supernatural horror-literature. Therefore we must judge a weird tale not by the author's intent, or by the mere mechanics of the plot; but by the emotional level which it attains at its least mundane point. If the proper sensations are excited, such a "high spot" must be admitted on its own merits as weird literature, no matter how prosaically it is later dragged down.
You know what a library is right?
Ok just bought a few on Amazon:
American Psycho (for some reason I've never read this)
House of Leaves (because everyone is raving about it in this thread)
and last but not least, Snow Crash
three of my favorite novels of all time
in regards to weird fiction, I wouldn't link it at all to science fiction since none of the classical authors really have any ties with science fiction at all. Most of the authors (Bierce, Lovecraft, Blackwood, Dunsany, Machen...) are more closely linked to horror and the fantasy realm rather than science fiction. Lovecraft admitted himself he couldn't stand advancements in technology, and that's kind of a big deal in science fiction...
also the very notion of science fiction taking place in the future entails some sort of future for mankind. I'm certain Lovecraft (and Ligotti would agree) mankind doesn't deserve a future (and this is of course barring revisionist/historical fiction, etc...)
However, this doesn't change the fact that, at its origin, weird fiction was probably more influenced by horror and fantasy.