Weird Split

Having read extensively for the Jacksons and the Year’s Best Weird, the major split I’ve seen is between miserablist and non-miserablist philosophy. The latter (especially US writing) favors direct, precipitous action, bombast, and arrogance/ignorance. The former is often driven by themes of impotence, emasculation, and paranoia. Simon Strantzas theorizes that contemporary weird fiction in North America is defined by a “philosopher-explorer mindset.” I think he’s on to something. The loss of empire seems the root of much of British weird’s preoccupation with guilt and suffering.