Why ghosts? My primary interest as a writer is to ask and keep asking what it means to be human in a world indifferent to humanity. To my mind, a ghost, proceeding as it does immediately and directly from the individual after death, expresses many of our most intimate concerns—fear of mortality, loss of identity, loss of agency—while retaining at least a vague semblance of what was once physically, entirely human. A ghost is not a bizarre transformation initiated by an outside force. It may be seen, instead, as a last attempt at holding onto life and selfhood.

Most often, we choose to invest ourselves in narratives because we feel a kinship with their protagonists, because we can recognize some element of our own experience in theirs . . . but the odd thing about people (or one odd thing, at any rate; one amongst many) is how few of us have any literal sympathy for each other’s joys, or victories, or pleasures. Happiness is discounted, even devalued; what’s that line about how all happy families are alike, while all unhappy families are unhappy in different—and far more interesting—ways?

I write horror novels. I’m a gay man. Many of my characters are also gay men. As such, I have the privilege of being known as an author of “Gay Horror,” though I don’t have a clue what that means. I’ve been asked. My answer is never particularly good, because the suggestion is that the horror I’m writing is just for LGBTQ readers, or that the horrors I’m describing are derived from the gay experience. Neither of which is true. The easiest way to cut through this nonsense is to invoke the name of Clive Barker. He writes horror novels. He’s a gay man. Sometimes he writes about bad things happening to gay men.

Growing up Mexican-American and a fan of speculative fiction meant bouncing back and forth between two worlds, but I was used to that crisscrossing of borders, one of the defining and unifying elements of the Latino experience. In our South Texas home, scant miles from Mexico, I could listen to my grandmother Marie Garza recount the tale of the mano pachona—a disembodied demon claw that hunts children down—and then turn to my father’s yellowed copies of pulp magazines to read Lovecraft or to my own collection of Swamp Thing, Weird Mystery Tales, and other dark comics.

In the run up to the 2016 World Fantasy Convention, an interesting conversation took place online. 2016 marked one hundred years since the birth of Shirley Jackson, author of “The Lottery,” The Haunting of Hill House, and other stories and novels. The convention seemed an appropriate venue at which to celebrate her life and work. Despite this, when the preliminary schedule for the convention was released, it included only one panel on Jackson. In contrast, some eight or nine panels addressed the fiction of H.P. Lovecraft and his circle.

I have trouble falling asleep almost every night. Two nights ago, my brain was overactive, and I knew sleep paralysis was creeping into the pores of my skin. I’m used to it at this point. The numbness. The helplessness when it first starts. After years of experiencing it, I know how to get myself out of it. I know the fear is temporary. I know to scream at the shadow hands gripping my throat or imprinting themselves into my shoulders and belly. The world during sleep paralysis is in black and white. The environment is static and quiet. I open my eyes into a gray dimension and I know something is watching me, waiting to get ahold of my body.

Could the Weird, by teaching us how to live with a dysfunctional reality, shake us out of complacency and into action? Could the Weird provide lessons on how to live under the shadow of incessant dread? For over a decade, scientists, philosophers, and poets have told us we stand in the Anthropocene, a time when environmental damage has progressed so far that the chain-reaction to the end of the human race and the destruction of the planetary biosphere has passed the point of no return. In sum, we stand on the precipice of how to live after the end of the world.

When writing horror stories, fairies may not be the first thing that comes to mind. Fairies are perhaps more associated with the idea of fairy tales, with the strong connotation of a happy ending. But just as fairy tales have their elements of horror—even Cinderella has stepsisters who cut off parts of their own feet to fit them in the glass slipper, whose eyes are plucked out by doves at the wedding—fairies as a part of the supernatural have their own tradition of horror, too.

Audio horror adds another layer. When watching or reading horror, we have the opportunity to look away or skim when things get a little too intense. Audio forces you take a much more active role in escaping. We’re not allowed to cover our eyes when Button Boy is fastening those smiley faces to his victims in “Best New Horror” by Joe Hill. When our hapless editor is crashing through the woods at the end, our hearts are pounding with the same mix of exhilaration and fear. Audio horror stalks you relentlessly.

One of the most disturbing moments in any horror film I can think of is in David Lynch’s Twin Peaks: Fire Walk With Me, a movie everyone hates but me (the Cannes audience booed it at its premiere, but what do they know about anything). Taken by itself, it’s not just an overlooked gem about the final tragic days of a young woman, but one of the most terrifying films of the 1990s. Stripped of the series’ quirky fun, it’s a straight shot down nightmare alley, where every facet of Smalltown America wholesomeness is rotten and festering with darkness.