[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-515368-105":3,"detail-sidebar-cat-0-en-105":81,"doc-detail-515368-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","portrayal-of-the-weird-domain-of-david-mitchells-slade-house-paper","Portrayal of the Weird Domain of David Mitchell’s Slade House - Paper","","The study examines how David Mitchell’s Slade House (2015) moves beyond Gothic fiction and develops into weird fiction by portraying the domain of “the Weird.” The novel’s structure links paranormal tales experienced by five characters across recurring cycles between 1979 and 2015. Using Gothic devices such as haunted spaces, apparitions, occult rituals, hallucinations, mental deterioration, and nightmare sequences, the paper argues that the core dread arises not from mere supernatural causality, but from a Fisher-described sensation of wrongness tied to limits in comprehending reality.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/portrayal-of-the-weird-domain-of-david-mitchells-slade-house-paper/515368/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/portrayal-of-the-weird-domain-of-david-mitchells-slade-house-paper/515368.png","ImageObject",300,407,{"name":42,"@type":43},"Asher","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-17","2026-10-06",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",5,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"How is Slade House structured according to the abstract?","Question",{"text":63,"@type":64},"The novel is built from tales of paranormal occurrences experienced by five individual characters at the mansion, with events recurring every nine years between 1979 and 2015.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What Gothic tropes does Mitchell use in Slade House?",{"text":68,"@type":64},"Mitchell employs haunted house imagery, apparitions, occult rituals, hallucinations, mental degradation, and nightmarish dream sequences.",{"name":70,"@type":61,"acceptedAnswer":71},"What makes the dread in Slade House belong to the domain of the Weird?",{"text":72,"@type":64},"The paper argues that the dread is grounded in a sensation of “wrongness,” where perceived things feel like they should not exist in ordinary reality, reflecting inadequacy to comprehend all reality.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},515368,1791430677,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,99,104,109,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":89,"slug":90},80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":96,"show_sort_weight":97,"slug":98},"Comic",60,"comic",{"id":100,"doc_module":4,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},6,"Technology",50,"technology",{"id":105,"doc_module":4,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},7,"Healthcare",40,"healthcare",{"id":110,"doc_module":4,"doc_module_name":25,"category_name":111,"show_sort_weight":112,"slug":113},8,"Research & Report",30,"research-report",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},9,"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":55,"slug":129},19,"General","general",{"code":4,"msg":82,"data":131},{"doc_id":79,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":26,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":123,"language":139,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":12,"update_tm":143,"read_time":144},687197207639,"https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd","King Saud University College of Arts Journal of Arts  \nISSN (Paper):1018-3620  \nISSN (Electronic):1658-8339  \nجامعة الملك سعودكلية الآدابمجلة الآداب  \n1018–3620:)ورقي( ردمد  \nردمد (النشر الإلكتروني): 1658-8339  \nمجلة الآداب، مج (32)، ع (3)، ص ص 10-1 ، جامعة الملك سعود، الرياض (2020م1441/ هـ)  \nJournal of Arts, Vol. 32 (3), pp 1-10, © King Saud University, Riyadh (2020 /1441H.)  \nPortrayal of the Weird Domain of David Mitchell’s Slade House  \nShaju Ouseph Nalkara  \nAssociate Professor of English Literature, Department of English, Faculty of Language Studies, Arab Open University, Riyadh, Kingdom of  \nSaudi Arabia  \n(Received: 10/2/1442 H; Accepted for publication: 7/ 5/1442 H)  \nAbstract: David Mitchell’s Slade House (2015) transcends the tropes of Gothic fiction. The novel is structured as tales of paranormal occurrences experienced by five individual characters at the titular mansion. The events recur every nine years between 1979 and 2015. Mitchell uses gothic tropes like the haunted house, apparitions, occult rituals, hallucinations, mental degradation, and nightmarish dream sequences. Yet, on a deeper level Slade House is a narrative tackling the domain of the ‘Weird’ where human capacity to comprehend reality is questioned. Mark Fisher has called the Weird as something which generates a sensation of ‘wrongness’ in us. The wrongness or the certainty that the things we perceive should not exist in our plain of reality generates the experience of the Weird.  \nThis sense of wrongness, Fisher argues, is rooted in our inadequacy to comprehend all of reality. Weird fiction has its roots in the works of H. P. Lovecraft. His works dealt with articulating existential dread as an outcome of realizing our absolute insignificance in an indifferent cosmos. Slade House grapples with the problem of articulating this sense of the Weird. For this purpose it employs stylistic and thematic subversions of traditional Gothic and supernatural elements. This paper will examine how David Mitchell’s Slade House goes beyond the Gothic and evolves into a work of weird fiction. The paper will also probe into the novel’s portrayal of the  \ninexplicable and the monstrous lurking in the realm of the Weird.  \nKeywords: Gothic fiction, weird fiction, the Weird, supernatural horror, the Other.  \nتصوير المجال الغريب لمنزل ديفيد ميتشل سليد  \nشاجو أوسف نالكارا  \nأستاذ مشارك في الأدب الإنجليزي، قسم اللغة الإنجليزية، كلية دراسات اللغة، الجامعة العربية المفتوحة، الرياض، المملكة  \nالعربية السعودية  \n(قدم للنشر في 1442/2/10 هـ، وقبل للنشر في /7 1442/5 هـ)  \nملخص البحث: تتجاوز رواية منزل سليد - (سليد هاوس) للروائي ديڤيد ميتشيل المجازات المعروفة في أدب  \nَّ  \nالخيال القوطي؛ فهيكل الرواية مؤلف من عدد من القصص أو الحكايات، عن ظواهر خارقة للطبيعة عاشها خمسةأشخاص فرادى في قصر عتيق يحمل اسم صاحبه. استعمل ميتشيل في بناء روايته العديد من الرموز والاستعاراتالمجازية القوطية، مثل: التدهور العقلي، والمنزل المسكون، والطقوس الشعائرية الغامضة، والهذيان والهلوسات،والمشاهد التسلسلية لكوابيس ليلية.  \nفبدت الرواية سردً ا يستعين بانقلابات على مستوى الأساليب والمواضيع، التي كانت عرفًا سائدً ا في الأدب القوطيالتقليدي، وعلى عناصره الخارقة للطبيعة، ويتطرق إلى تناول مفهوم (الغرابة)، عندما يتم التشكيك في قدرات العقلالبشري على فهم الواقع، وتصبح تلك القدرات محطًا للتساؤل.  \nتحاول هذه الدراسة الإجابة عن سؤال كيف تمكن الروائي ميتشيل، في روايته منزل سليد - (سليد هاوس) منتخطّي حواجز القوطية؟ وتحاول ـ أيضً ا ـ الوقوف على الكيفية التي جعلت صور ومفردات الرواية قادرة على ما ليسبالإمكان تفسيره، وكيفية تعامل أحداثها مع الوحشية القاطنة في عالم الغرابة.  \nالكلمات المفتاحية: خيال قوطي، خيال الغرابة، الغرابة، رعب الخوارق، سيلد هاوس.  \nIntroduction  \nDavid Mitchell (1969- ) is a British author whois widely acknowledged as a master craftsman of fiction. He has authored eight novels: Ghostwritten (1999), number9dream (2001), Cloud Atlas (2004), Black Swan Green (2006), The Thousand Autumn’sof Jacob de Zoet (2010), The Bone Clocks (2014), Slade House (2015), and Utopia Avenue (2020) . His works display a vast ","cbCaish8tsA6HF8J","https://ap.wps.com/l/cbCaish8tsA6HF8J","pdf",931957,"English","# Introduction\n## David Mitchell and genre experimentation\n## Slade House’s Gothic elements\n## Defining the Weird and wrongness\n## Link to Lovecraft and existential dread","[{\"question\":\"How is Slade House structured according to the abstract?\",\"answer\":\"The novel is built from tales of paranormal occurrences experienced by five individual characters at the mansion, with events recurring every nine years between 1979 and 2015.\"},{\"question\":\"What Gothic tropes does Mitchell use in Slade House?\",\"answer\":\"Mitchell employs haunted house imagery, apparitions, occult rituals, hallucinations, mental degradation, and nightmarish dream sequences.\"},{\"question\":\"What makes the dread in Slade House belong to the domain of the Weird?\",\"answer\":\"The paper argues that the dread is grounded in a sensation of “wrongness,” where perceived things feel like they should not exist in ordinary reality, reflecting inadequacy to comprehend all reality.\"}]","Portrayal of the Weird Domain of David Mitchell’s Slade House - Paper | PDF",1791312853,15]