Abstract

This article mounts an initial exploratory engagement with the weird fiction of Henry S. Whitehead, framed by American imperial expansion into the Caribbean in the interwar years. It situates Whitehead and his work within the wider historical context and shows how Whitehead himself used and played with history as part of his fiction. The article considers the role of light in Whitehead's fiction and imperial projects, as well as the way that Whitehead's work, as horror fiction, both shapes and seeks to dispel notions of the Caribbean as a space of horror. As well as offering some initial conclusions, the article seeks to open further lines for future investigation.