Abstract
ABSTRACTLocating weird fiction in terms of its relationship with the higher dimensional geometries that had emerged at the end of the nineteenth century, this essay adapts and revises Joseph Frank’s theory of spatial form to argue for a parallel higher spatial form apparent in Weird Fiction. Where Frank and his followers have identified ‘word-clusters’, the cultivation of the mythical imagination, image patterns, leitmotifs, analogy and contrast as techniques inherent in spatial form, this essay describes pseudo-mythology, intertextual motifs, intensified encadrement, narrative retardation and archaic neologism as typical of weird fiction. It offers readings of weird stories by Mary Wilkins Freeman, William Hope Hodgson and H. P. Lovecraft.
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