Nena came to consciousness little by little. She was ever present in the air of apartment 5K in the seventy-unit building in Brooklyn, like the wafting scent of sewer gas coming from old drain pipes: it’s easily ignored but still makes you a little sick. Sofia, the old woman who lived in apartment 5K, believed in Nena.

They were on their way to El Paso when Yolanda asked Bernard to pull over. He choked the steering wheel until his fingers turned white. “Are you fucking serious?” “It’s okay,” she said shrinking into her seat, her hands rubbing together nervously between her thighs. “I can hold it.”

Making a horror magazine is a real labor of love, and February is the season where we celebrate all things loving and relation-full. This issue really dives into the language of the heart.

Throughout its history, horror literature has frequently mediated its eponymous affect through an obsession with the act of writing. The field is replete with writer protagonists, with depictions of the writing act (through epistolary framing devices and metatextuality), and with written objects.

when i die i like
to think about the life
i lived. i like to be
alive again every time