I think there are a lot of clichés about trauma and how you’re supposed to respond to it. “What doesn’t kill you makes you stronger” carries with it the expectation that if something doesn’t make you stronger, you’ve failed. Another one is that hardship is a gift/challenge/etc., that is, something you should be grateful for and have to learn from. While it’s true that a lot of people come through a trauma or an illness stronger, countless others are worn down or broken. Many live and cope with pain but do so as very fragile people. Are they strong? What is “strong,” for that matter?

The Victorian death photos are straight out of my own childhood. I found a book of them in an Idaho library when I was little. I’m pretty sure I’ve been ruined ever since. They were on a bottom shelf. There were no names in the checkout log. Unlike the narrator here, I didn’t steal the book, but oh, oh, I thought about it.

would like to destroy this notion that some editors have that there seems to be a lack of women writing horror (not “dark fiction.” I mean horror. Real. Damn. Horror.), or that they’re unable to find new and different women writers to contribute to their various anthologies, which is why they can only invite the same two or three women to contribute to their anthologies…. Well, I guarantee that more than two or three women are writing horror—women all over the world are writing the fuck out of horror and knocking it out of the ballpark.

Mythology is something that’s fascinated me since childhood, especially the ways in which societal power-shifts can cause myths to mutate. The worship of Persephone, for example, was a mystery religion long before Dionysus came on the scene, one reserved specifically for women, and if you trace the Persephonean myth back far enough, you’ll find that she transmutes into a sort of “death queen” goddess who actually pre-dates both her supposed husband, Hades, and the sacrificial son-lover figure of Dionysus or Attis.

The original inspiration was the photograph of one of the “bog bodies”—ancient, mummified corpses found in a Danish peat-bog. I don’t know much about them, although there have been books written about them, but my memory of it is that there were different theories about how they came to be there—some thought they were ritual sacrifices, others that they’d been executed for some crime and then dumped in the bog, where the effect of minerals in the soil kept them in an amazing state of preservation for centuries.

The origin of the story is the line in the first paragraph—the bit about how high rates of drug abuse are for pet store workers. A friend of mine that worked at a pet store told me about that in high school and it always stayed with me for some reason—the idea of all these cynical, high teenagers taking care of small animals and being friendly to customers, or not, just demanded a story

What strikes me in re-reading “Old Friends” for the first time in many years is how perfectly it encapsulates his approach and style. The first story I read of his in that Arbor House collection was the oft-reprinted classic “If Damon Comes,” which has stylistic and thematic elements that are similar to “Old Friends.” I remember pressing it on friends (we’re talking 8th graders here) who just didn’t get it, and couldn’t dial in to the emotional unease and elliptical style of the story.

The core of it is a decision I came to around this past New Year’s, which was to finally get brave enough to dig down into the core of what makes me frightened and angry and sad and drag it out and make words out of it. One of my favorite books on writing is Anne Lamott’s BIRD BY BIRD, and one of the points she stresses is the importance of doing that, that those painful, shameful things are where a lot of your most honest and powerful work can come from.

I often write stories about characters who are ignorant or oblivious to the truths that surround them. The unreliable narrator is a favourite tool of mine and particularly effective in the horror genre for creating a sense of dread and uncertainly about how the narrative will play out. I suspect there are very few of us who, when confronted with the sort of peculiar situations most horror story protagonists find themselves in, would be aware of what’s going on and why.