I started this story with the premise, “What would a ghost be afraid of?” The Neverman came right out of that. Incomprehensible forces are always scarier than ones we can define, so I’d rather let the reader decide for herself what the Neverman might represent. But I will say that a lot of what the Neverman is came from my subconscious fears, and so there may be something to your theory of nihilism. As a general life philosophy, I find nihilism lazy and myopic. To me, it reflects a failure of imagination.

A couple of years ago, I was listening to a lot of horror podcasts/radio dramas and true crime stories. “Tragically Murdered Little Girl” was a running plot element, and it grossed me out to no end. Whoever it was that said that the death of a beautiful woman was the most tragic, poetic thing didn’t account for the modern fixation on little dead girls. Dead kids are shorthand for “ultra-tragic” but they’re also dead children. They existed for themselves, they were complicated beings who had desires and bad days and relationships. Why shouldn’t those girls get their own stories?

Long ago, I ran across an article online about the summer getaways post-WWII, where disfigured veterans went. There was a line in the article that said something like how these getaways would be the only time the veterans felt the sun on their skin, because they would be allowed to remove their masks that they otherwise had to wear when in public. The article went on to talk about the artists that made these masks for the soldiers. I think I found more research on this as well, one article that highlighted a specific artist. And I thought what a beautiful image that was.

As for this particular story, when I was fourteen I read a book called Zodiac about the real serial killer, and I was fascinated by someone who had evaded capture and committed his crimes with a weird intelligence and, well, panache for lack of a better word. I’d grown up with a father who was violent and sociopathic, and I was vulnerable to the idea—to the hope, horribly—that if you had to deal with evil in the world, at least you could have the consolation that it was purposeful in a sick way.

I really love speculative fiction that blends genres and plays with our expectations, like fantasy stories that take place in the far-distant future. I knew immediately that I wanted to take the fantastical elements of the fairy tale and put them into a cosmic setting, and if I wanted this place to be imbued with the kind of ancient magic that has all but disappeared in the face of modern technology and science, then my sleeping beauty would have to be dormant and undisturbed on some distant and hard-to-find world.

I was having a discussion with a friend … and I tried to explain how I react to stories. Words have textures, tastes to me. Sentences are entire literal flavour palates. Some stories clang. Others whisper. Some seethe with diamond dust, others taste like drowning. And when I’m writing, I’m almost trying to transpose a framework of a meal onto actual text? (Wow. That sounded pretentiously artsy.) But that’s kind of how my brain functions.

India is like an alternate reality where religiosity and liberalism live side by side, often uneasily. You walk down a row of shining skyscrapers that wouldn’t be out of place in New York or London, turn a corner, and suddenly come upon an overhanging tree with a shrine embedded into its trunk, or a cross marking the spot where a martyr fell centuries ago, or a saffron coloured Lingam (a phallic stone object representing Shiva), and it wouldn’t be unusual to see a person in a $2,000 suit get out of a chauffeur-driven Bentley and offer prayers on that spot, even at the cost of obstructing traffic.

This was a relic, supposedly, yes, a bit of foreskin from Jesus Christ. I read somewhere that an angel put this in Saint Bridget’s mouth and she had a vision. Saint Catherine outdid her: she wore Christ’s foreskin as a ring. Mystical marriage, indeed. And it’s just odd how Indigenous beliefs bleed in and out of Mexican Catholicism. You look at something like the cult of Maximón, which is a sort of blend of Pre-hispanic ideas about gods and Catholic saints, and you end up concluding the world is strange and you know nothing about it.

Everyone is an “Other” to someone else, and the Other both attracts and repels. Of course, we’re also all Others to ourselves—we’re not unitary individuals who have complete self-knowledge or even self-regard. So we’re all always looking for and running from something. As far as what horror is, for all that I write it, it doesn’t mean all that much to me. I don’t spend a lot of time thinking about it, honestly. There’s a little bit of horror, potentially, in any kind of story. It’s a spice, like salt or cumin.

While I was focused on atmosphere and tone, I didn’t actively pursue a fairy tale vibe. I think that was the direct result of taking more of a spoken-word approach to the storytelling and the impact it has on the flow of the text. I wasn’t concerned with how long a sentence was or where it should end or how many times a conjunction had been used, because people don’t do that when they tell stories out loud. I also avoided a lot of specific information such as the boy’s name and the time period.