21st-Century Horror
Weird Fiction at the Turn of the Millennium
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The literature of terror and the supernatural has been experiencing a renaissance over the past several decades, and with the advent of the new millenium a diverse cadre of writers have expanded the bounds of weird fiction and enriched it with their penetrating visions. This book is the first to present a broad analysis of horror fiction as written by writers in their forties and fifties. S.T. Joshi, one of the leading authorities on weird fiction, divides his book into thee categories, based on his judgment of the varying merits of the authors in question. Among the »Elite« are such writers...
The literature of terror and the supernatural has been experiencing a renaissance over the past several decades, and with the advent of the new millenium a diverse cadre of writers have expanded the bounds of weird fiction and enriched it with their penetrating visions. This book is the first to present a broad analysis of horror fiction as written by writers in their forties and fifties. S.T. Joshi, one of the leading authorities on weird fiction, divides his book into thee categories, based on his judgment of the varying merits of the authors in question. Among the »Elite« are such writers as Michael Aronovitz, a master of metaphysical narratives that intensely treat the emotional traumas of his characters; Adam Nevill, author of expansive novels that use the classic work of M. R. James, Arthur Machen, and others as a springboard; and Jonathan Thomas, who has found in the work of H.P. Lovecraft a touchstone for his cynical views of human foibles. Among the »Worthies« are the grimly pessimistic writer Nicole Cushing; Reggie Oliver, who has revived the ghost story; and Clint Smith, whose tales are distinguished by his lyrical prose. Controversially, Joshi has established a category of »Pretenders« -- authors whose work, in his opinion, is not commensurate with their reputations. Here we find Laird Barron, whose distinguished early writing is now confounded by mediocrity and preciosity; Joe Hill, author of bloated potboilers all too reminiscent of the unimaginative work of his father, Stephen King; Brian Keene, the prototypical hack writer; and Jeff VanderMeer, author of a trilogy whose confused premises and tiresome length try the patience of the most indulgent reader. Whatever one may think of Joshi’s views, his writing remains lively, provocative, and sure to promote discussion.
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