Yes, we still like the Weird stuff.
Much like Michael Kelly in his foreword to the Year’s Best Weird Volume 2, I don’t want to rehash last year’s review with a definition of weird fiction. Weird fiction seems to become more popular as a genre with each year, so perhaps that’s not necessary anymore. Year’s Best Weird is a topper to what has already been a strong year for uncanny fiction: new, acclaimed story collections from luminaries Kelly Link and China Miéville made it to many year’s best lists, new novels from Gemma Files, Molly Tanzer and Paul Tremblay brought the weird to novel-length works, and re-releases of under-appreciated classics from Thomas Ligotti, Charles Beaumont and Ray Russell saw the light of day. Undertow Press itself is a great home for the Weird and its most recent original anthology, Aickman’s Heirs, will surely find some of its stories in all kinds of best-of anthologies in 2016.
Maybe, as was suggested at the Weird fiction panel at World Fantasy Con in October, the Weird really is poised to be the Next Big Thing.