Yellowed bones tangle with jade necklaces and gold bracelets in the depths of the cenote, where blind fish and crayfish swim. She stands near the edge of the waterhole, observing its beautiful depths, her hands clutching her long skirt. At her feet there is a burlap sack. A pig squirms and squeals inside. She ignores its protests. She is a novice at a convent near a small town baked by the harsh sun, a town south of Mérida; a town where all buildings are painted yellow and white.

“Get back in that bed, girl. You go on to sleep.” Mama said, clinging tightly to her apron. Hattie Mae let the curtain fall back into place and ran to bed with her tiny ebony feet patting on the hardwood floor as she went. She scooted in next to her sister, Betsy, and snuggled under the tattered covers, awaiting Mama’s kiss. And of course Mama didn’t fail her. Her lips were soft and moist despite the worn, tired look on her face. She sighed as she stood back up, holding her back. Evidence of a long hard life, Mama always said.

It was Charlie Sheen night at the Hyaena Art Gallery. One actor’s implosion was every other man’s meat. And Kristy had to admit she wished she’d been in on it, despite her automatic sell-out reservations. This was one hilarious, legitimately badass show. In retrospect, she was kicking herself for not having even tried. Art was supposed to be provocative and fun. Otherwise, what was the fucking point? Excite the eye, and you excite the soul. Everything else was pretense.

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This month, Adam-Troy Castro reviews Paperbacks from Hell: The Twisted History of ’70s and ’80s Horror Fiction, a new work of nonfiction by Grady Hendrix.