Summary of “Toward a Theory of the New Weird”

By learning to read weird fictions on a literal level it may be possible to see how weird reality already is.
The Atwood story is a perfect example of The Weird, according to the definition of weirdness provided by the late Mark Fisher in his 2016 book, The Weird and the Eerie.
Taken together, Fisher’s notions of the weird and the eerie are ways of describing what he calls “That which does not belong.” The reason it does not belong is not that it is artificial or supernatural as opposed to natural.
“Natural” is exactly what is displaced, or made to not belong, in a weird story.
There’s a potential name for this kind of fiction: the New Weird.
The term itself isn’t new at all by now; it’s been floating around since the early 2000s, and even then, the type of writing it described was not necessarily a novel departure from types of writing that came before, such as the New Wave of the 1960s or the horror fiction of the 80s. Like all “New” and “Post-” terminology, the New is an adjective used to distinguish from and connect to a past genre-in this case what might be called the “Old Weird.” Old Weird is a name retroactively given to certain writing from the late 19th and early 20th century.
What feels weird or eerie depends on who you are, and is therefore a political question.
Through perceptual flips, New Weird could relocate the weird other from the outside to within.

The orginal article.