If you haven’t seen The Witch (2015) and Get Out (2017), you must have been living under a rock. The former was a breakout title for A24 Films, becoming the fifth highest grossing movie they’ve put out to date (with over $25 million dollars in earnings). And the latter was nominated for several Golden Globe and Academy Awards, winning the Oscar for Best Original Screenplay. Two very different films, they both took chances at the box office—with their stories, images, themes, settings, and overall experiences.

I imagine the filing cabinets of Sunnydale’s police department filled with missing persons cases, printouts of missing people tacked to every bulletin board. I imagine Sunnydale’s police are skilled at fielding calls and unexpected visits by alarmed citizens with strange accounts of monsters eating or murdering their children. Young people die a lot in Sunnydale. Life goes on. These things happen.

This is a story about two types of children: a Creepy Child and a Fast Girl. One is a trope found in horror. The other, a trope rooted in black culture. I have embodied both. The Creepy Child knows she’s not like other kids. Her otherness both strengthens and guides her, like a dusty amulet in an attic. Awaiting her. I lived up to the Creepy Child label as best I could since I lacked two crucial criteria: whiteness and innocence. No one informed me of that as I sat down to write my first obituary at age nine.

As a child, when something frightens you—a bad dream, or a monster under the bed—what do you do? You call for the ultimate protection: your mother. But what happens when mothers themselves are monstrous, and what makes them so? Mothers, like women in horror fiction generally, don’t tend to fare well. They suffer from the “damned if you do, damned if you don’t” problem, becoming a source of terror for being too motherly, or not motherly enough.

Although my parents might deny allowing their young daughter to see movies such as The Exorcist, The Omen, and many of Stephen King’s adapted books (Cujo, Carrie, Christine), images and scenes from those films have been indelibly burned into my memory like the starkest nightmares. And I did get nightmares immediately after watching these and other horror movies: the rabid dog nightmare, the demon child nightmare, the attacking birds nightmare, the girl with blood running down her face nightmare.

When I was a kid, conspiracy theories were my safe space. I had a couple of books that collected the addresses of different groups and I’d sit in my room, writing away for literature from UFO cults like Unarius and the Raelians. The United States Postal Service was a cornucopia of crackpot conspiracies, disgorging pamphlets from Minnesota’s Warlords of Satan, Christian comics from Jack Chick, apocalyptic photocopied newsletters like The Crystal Ball, catalogs for underground books from Loompanics Press, MK-Ultra exposés from Finland.

I get so stressed watching horror—especially in theaters, especially in the dark, where I have nowhere to hide—that I hold a bag of popcorn over my eyes, sweat pooling in my palms, while my friends teasingly jab me in the ribs. It’s not the idea of a ghost jumping off the top of a dresser that gets me. It’s the anticipation. It’s the tightrope between knowing and not-knowing: knowing that your safety will be breached, but not knowing when. “But don’t you write horror?” Yes; it’s called a coping mechanism.

After the real estate agent took my husband and myself on the grand tour of the 1870’s Italianate Revival house, I asked the owner, before inquiring about taxes, or pipes, or the age of the roof was: Is it haunted? The owner, a classic silver-haired little old lady type, familiar to anyone who has read a ghost story or two, said “Yes. Ruby’s still here.” Of course, we bought the house. Neither my husband nor I are particularly “sensitive,” so if our house was haunted, at first, we remained blissfully unaware, ascribing any bumps in the night to mice

Years ago, while studying Buddhism in college, I came across the Tibetan practice of sky burial, where the corpse is chopped into pieces and left out in the open for the vultures. Monks gather around the remains to meditate upon death, aided by the grisly reality of a human body reduced to it essential components. I found this fascinating. Still do. Bravo to those stalwart monks watching the vultures dip their red beaks into the human goulash. Whether it’s a spectacle I’d want to witness myself, though, is another matter.

My eighty-five-year-old mother, who has been living in a board and care facility since August 2017, recently told me a remarkable anecdote: when I was eleven, there was a big story in the news about a missing thirteen-year-old girl. One day, Mom and Dad spotted the missing child on the street and brought her home, where she stayed with us for a few days until the authorities arranged to get her back to her family. What gave this story its real punch ending was my mother’s discovery that another one of the residents at the board and care was that little girl, all these years later.