27 October 2020
To be published alongside James Machin’s anthology of classic British Weird short fiction, British Weird, Women’s Weird 2 contains thirteen remarkably chilling stories originally published from 1891 to 1937, by women authors from the USA, the UK, New Zealand, Canada, India and Australia. Read thoroughly frightening fiction by the most unexpected of Weird authors: Stella Gibbons, L M Montgomery and Katherine Mansfield.
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These classic Weird short stories include:
- Edith Stewart Drewry, ‘A Twin-Identity’ (1891)
- Lettice Galbraith, ‘The Blue Room’ (1897)
- Sarah Orne Jewett, ‘The Green Bowl’ (1901)
- Barbara Baynton, ‘A Dreamer’ (1902)
- Mary E. Wilkins Freeman, ‘The Hall Bedroom’ (1905)
- Katherine Mansfield, ‘The House’ (1912)
- Bithia Mary Croker, ‘The Red Bungalow’ (1919)
- Bessie Kyffin-Taylor, ‘Outside the House’ (1920)
- Marjorie Bowen, ‘Florence Flannery’ (1924)
- Helen Simpson, ‘Young Magic’ (1925)
- Lucy Maud Montgomery, ‘The House Party at Smoky Island’ (1935)
- Mary Elizabeth Counselman, ‘The Black Stone Statue’ (1937)
- Stella Gibbons, ‘The Roaring Tower’ (1937)
Melissa Edmundson’s introduction explores how the evolving Weird tradition was interpreted using colonial settings, and describes how writing Weird fitted naturally into the careers of writers like L M Montgomery (Anne of Green Gables) and Stella Gibbons (Cold Comfort Farm) who were not normally considered exponents of supernatural fiction.
The Times Literary Supplement reviewed Women’s Weird volume 1 for Hallowe’en 2019: ‘The collection is a deliberate effort to attenuate, in the horror tradition, the dominance of men like M R James, Arthur Machen, H P Lovecraft and Ambrose Bierce, and restore to prominence innovative writers such as May Sinclair, Mary Butts and Margery Lawrence … The stories in Women’s Weird, spanning the period from the late nineteenth century to the eve of the Second World War, branch out from an older ghost-story tradition to “explore more universal imaginings of fear, unease and dread”. They show the continuing influence of Gothic and supernatural tropes and the effect of their collision with a modernizing world and women’s changing roles within it.’