In this podcast Scott Nicolay interviews Nadia Bulkin, author of She Said Destroy. Also special guest Sandra Kasturi, author and editor/publisher of ChiZine Publications! Find out more and listen here.
Introduction: Notes from the Artist
By Jeanne D’Angelo
When I first started this illustration, I had no idea that the accompanying essay was going to be about Object Oriented Ontology, or even what that was. However, the opening passage struck me immediately because in it human forms are reduced to some unknowable mystifying shape in the distance. Having more of an understanding of the project now this actually seems like a perfect window into a philosophy that decenters humans and describes objects as having agency outside of our perception of them.
The way I chose to compose this image is meant to echo just that. The foreground/true subject of the painting is a beach littered with both objects specifically described in the story, and objects I could imagine I would feel compelled to pick up if I found them. A crowd scene as it were, with objects clustered, balanced, and woven through each other. To me, all the special objects should be conceivable and unremarkable in most ways, probably manmade refuse but which had taken on an unintended and improbable form. I think the way the story described the small patterned piece of pottery somehow broken into an almost perfect star shape was a perfect example of this type of object. We can deduce it was originally made by human hands, but what kinds of circumstances after its creation could have led to it being in this particular state? This could be the hidden world of objects, with their own trajectories, histories and evolution, and as the story shows, their own ability to act upon human consciousness.
On a purely aesthetic level, this sort of illustration presents an interesting challenge. Often the objects we choose to depict in art are remarkable, ornate, or part of some world of symbolism. The subjects of this image and story are mysterious detritus. Something you might just kick along the sidewalk on your way to run errands. It’s interesting to consider the magical little world of street trash with as much attentive detail as you would a painting of a vase of beautiful flowers or a chest of glittering treasure.
“Aboli bibelot d’inanité sonore.”
—Stéphane Mallarmé, “Sonnet en X”
I allot a significant portion of my time to thinking about The Weird; to considerations of the strange and the uncanny. To cosmic horror. Those who have read any of the essays I have written in collaboration with artist Michael Bukowski under the rubric Stories from the Borderland may have already noticed this predilection. This preoccupation. This fixation. This obsession. I make no pretense that it is healthy. Continue reading
“I’d called my slab ‘science fiction,’ but the art I’d cultivate would be the art of interstice, burrowing from surface to previously unconnected surface, through the waiting wealth of weirdness I sensed between those surfaces.”
—William Gibson, blog post Jan. 8, 2003
With special thanks to Edward Austin Hall, Marc Laidlaw, and especially Lewis Shiner for their invaluable support and assistance…
By now it should be obvious to readers of this series that science fiction is a virtual cornucopia of only loosely camouflaged great Weird Fiction. Without its own literary ecosystem to occupy during the previous century, The Weird quietly, patiently extended its mycelia beneath the leaf-littered forest floors of science fiction, fantasy, and mainstream modes alike, infiltrating their various oΐkoi with utter disregard for critical taxonomy. Now that its fruiting bodies are bursting forth all around us in a Weird Renaissance, we can finally take some measure of its full expanse. Here at Stories from the Borderland we specialize in spotting and plotting those loci where weirdness has long since spread beneath the surface, and we work like tireless truffle pigs, snuffling up the treasures we deliver you on our finest silver serving ware. This week’s fungal entrée comes your way with a side of brains. Continue reading
A mysterious resident of Manitoba named John E. Wall coined the term “cryptid” in a 1983 letter to the newsletter of the now-defunct International Society of Cryptozoology. Credit for the coinage of “cryptozoology” goes to either Ivan T. Sanderson, Bernard T. Heuvelmans, or Lucien Blancou. Though the word’s exact origins are appropriately unclear, it definitely appeared in print by 1959. The first usage of “weird” in the literary sense now familiar to us belongs either to Sheridan LeFanu in the late nineteenth century or H.P. Lovecraft in the early twentieth. Cryptids and cryptozoology however, have been fixtures of Weird Fiction since long before popular culture cemented any of these terms in their current forms and denotations.1
In this archival podcast Scott Nicolay interviews Chesya Burke, author of The Strange Crimes of Little Africa. It originally aired on August 17, 2015. This broadcast includes bonus new content featuring a follow-up interview with Chesya and Nicole Givens Kurtz reviews The Strange Crimes of Little Africa. Then Associate Producer Anya Martinjoins Scott for an all-new News from the Weird and an exclusive preview of The Outer Dark Symposium on the Greater Weird on March 25 in Atlanta, GA. Find out more and listen here.