# Why the author wants Canadian literature to get weirder
The author opens by asking readers and writers to accept more strangeness in Canadian fiction—whatever that looks like: sex slapstick, revenge plots, body horror, demon possession, talking animals, or formal experiments. The pitch is practical: weird books expand the range of feeling and make space for stories about loneliness, economic pressure, and community without flattening them into familiar realism.
# What "weird" does in service of story
Weirdness is presented not as novelty for its own sake but as a way to dramatize real pressures—wealth disparity, predatory development, and late-capitalist loneliness—while still being funny, human, and compassionate. Friendship and community recur as grounds where the strange and the tender meet, and humour is named as a decisive reason to read.
# Recommended books and what they show
- Tougher Than the Rest (Arsenal Pulp Press): Cited as a model that mixes many kinds of weird—sex slapstick, body horror, demon possession, talking animals—while centring women trying not to give up on themselves and their communities. It ties surreal elements to social themes like housing and loneliness.
- We So Seldom Look on Love by Barbara Gowdy: Named as a formative, mind-opening collection that humanizes outsiders and embraces the absurd. The author points to stories such as "The Two-Headed Man" and the title story (which inspired the film Kissed) as examples of emotionally satisfying strangeness.
- The World Afloat by M.A.C. Farrant: Praised for compact, fearless microfiction that compresses whimsy, oddity, and emotional truth into very short pieces.
- Moccasin Square Gardens by Richard Van Camp: A short-story collection that mixes humour with fear and pathos, moving between realism, speculative fiction, and horror.
- Lee: Stories that refuse easy answers, showing toughness, vulnerability, and traces of generational trauma while including wry, darker moments.
- Sodom Road Exit by Amber Dawn: Included among thrilling, scary, sexy, and haunting work that uses striking settings (the excerpt mentions abandoned amusement parks) to shape mood and action.
# A practical nudge to readers and writers
The piece ends with an emphatic call to read more short stories and to writers: keep experimenting. The tone is affectionate and insistent—readers who want novelty, emotional risk, or compact intensity will find that many Canadian writers already take those risks.
# Bottom line
The author wants Canadian literature to be bolder about oddness because the strange can make social realities feel fresh and the emotional stakes sharper. The recommended titles offer a range of ways to do that: brief explosions of microfiction, novel-length commitments to the uncanny, and short stories that move between laughter and discomfort.