I wanted to create a writing prompt using an image as a starting point for writing sensory detail. I came across an image that spoke to me so much, I not only used it for the writing prompt, but also wrote this story based on the image. It shows two boys fishing, one of whom is pulling up an octopus on his line. I was immediately struck by the idea of two boys hooking what they think is a tentacled river beast. The image provided such a strong starting point that the story all but wrote itself from there!

I recently finished Mark Fisher’s fantastic book The Weird and the Eerie, and in it, he cites the primary component of weird fiction as the sensation of “wrongness.” Fisher describes weird objects or entities that feel as though they should not exist, saying, “The weird thing is not wrong, after all: it is our conceptions that must be inadequate.” I think it’s this feeling or idea that’s genuinely unsettling. When presented with things that don’t conform to our prior conceptions, we realize the world may not work in the way that we thought it did.

This story had a long gestation period. It took me almost two years to finish, and that was after writing it, rewriting it, and then ripping it apart at the seams and writing it all over again. At its heart, I wanted to honor the character of Lucy. She’s such a wonderful presence in the book, but she’s disregarded far too early on. As a child, I remember watching Dracula films and hearing my parents talk about the book. I knew there were only two women in the story: Mina who lives, and Lucy who dies. 

I sometimes start typing without any clue where I’m going. This results in a lot of abandoned fragments, but also a lot of stories that surprise me with their destinations. This was one. Honestly, I had the not-unusual premise of a man imprisoned in a dollhouse, and considered it for all of thirty seconds reflecting not only that it was old, but also that it was damned similar to one just published in Lightspeed Magazine, “Sand Castles.” And then I thought, hey, maybe he’s a full-sized man trapped in that dollhouse, which to him will be a confining cage.

This is a retelling of a story told by a friend’s grandfather in Oaxaca, though numerous versions of it exist in Spanish-speaking America. The one I was told had two men stumbling across an abandoned baby in the night and carrying it as it grew heavier and heavier. I added a few details—the brothers’ business, the missing eyes, the gasoline—but I can take no credit for the spine-tingling moment when the baby addresses them through a mouthful of teeth (ya tengo dientes).

Tropes are kinda my jam, especially when it comes to slasher movies. In this case, I had an inkling of an idea about a Final Girl whose virginity was wholly practical, not some indicator of virtue or moral standing, but something she could use to her advantage to survive. Then I thought, “What if she’s asexual, too, either sex-repulsed or just indifferent, and giving up sex to hunt monsters totally isn’t a big deal for her?” Once I had that and the first line, I just kept writing until I found the shape of the story.

I’ve always had a fascination with the fictional rules of possession: what laws govern this? What are the loopholes? Why is there so much vomit? There is usually (if a victim) no consent for the entity to possess a host, which is part of the horror. More broadly, I’m fascinated by the rules that constrain the monsters or people in horror. So like, choosing to watch a video you have been warned is haunted suggests consent. Forcing someone to watch that same video so they will be cursed entails no consent, and is violence.

The inspiration for this story: In the winter of 2006, I was living in Almaty, Kazakhstan, working for a company that specialized in educational exchange programs in the former Soviet Union. They had recently expanded their operations into Afghanistan, and they asked me to go down and help out there for the winter with recruiting participants for their programs. I jumped at the chance: I grew up in Fremont, California, which has a large community of refugees from Afghanistan.

The POV in “The Bleeding Maze” is admittedly pretty strange. It has sections with second person address, sections that are told from a first person plural perspective, and sections that are standard first person POV. I think what makes it work is that the binding factor that laces all these perspectives together—the maze and the experience of people who come in contact with it—is like a prism of mystery and horror. It’s the focus of the entire story, and any POV of the maze is simply a refraction of that mystery and horror.