The conversational narrative was there from the start! I wrote the first line knowing almost nothing about the piece other than that it was going to be a conversation taking place between the entity in the cellar and an unfortunate intruder on their way to being digested, and I slowly built up the rest of the plot from there.

Female sexuality has so often been designated monstrous in and of itself, and women have so much capacity for rage because of the way they’ve been designated. I think the best horror is really taking what’s already simmering under the surface and dialing it up to eleven and using that newly exposed rawness to really get to the meat of it. Horror can sometimes feel cathartic in the way it lets repressed things explode, which is why it tends to be particularly resonant with marginalized perspectives. I also grew up religious, so personally . . . [Gestures vaguely in extra contention.]

I felt that thing a lot of first-gen kids talk about feeling: neither here nor there, too Russian to be American, too American to be Russian, both and neither at once. I wasn’t embracing the beautiful, complex mess of self back then, either. Different and complicated felt like the last things you wanted to be, and I grasped at every opportunity to smooth my differences and complications away. Part of that was an acute obedience that, thankfully, I’ve mostly shaken off since. Finally, like Uly, I was an only child who early on came to consider our family computer my easiest and most tolerant friend.

I think fans can expect everything I write will have the weariness, dread, and anger of living on the knife’s edge of a failing world paired with my silly devotion to empathy. The narrator of “Home” is a monster but one that breaks my heart as much as repulses me. Fans can expect a lot of that but (usually) with more jokes. I love horror though, so maybe reader excitement will encourage more utility knife murdering. One can never say for sure.