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We have original short fiction from Isha Karki (“Sell Your Trauma for Salvation”) and Adam R. Shannon (“First in Fear and Then in Pain”). Our Horror Lab originals include a flash story (“Anatomy of a Haunted House”) from Avi Burton and a poem (“Why Are You Haunted?”) from Joan Tierney. We also have the latest installment of our column on horror, “The H Word,” plus author spotlights with our authors, and a special review column from Adam-Troy Castro.
Those early years of my life have given me a deep appreciation for a genre of fiction you might call “Financial Horror.” Stories in this genre start with bills in the mail or a leaking roof and end with big, grim consequences, especially when financial difficulties slam up against supernatural disasters. Our two full-length short stories this issue land squarely on the “Financial Horror” side of the ledger.
When you get to the body, it’s still warm. Maybe because you’re exhausted, because your joints are feverish and your chest feels like it’s scraped dry, for a second, the face in front of you morphs and you see Ru splayed out inside the bathtub instead. Her wrists are splotched with welts, her eyes milked over with a knot of veins, but it’s the head that makes you rigid: Ru’s skull hangs to her chest, like something impossibly heavy is squatting on her neck.
The kernels of this story began with a few interlinked ideas: capitalism as a devouring force; the commodification of identities and the commodification of trauma (especially as they manifest in publishing and entertainment industries as fads and trends); the physical and psychological cost on those who tell their stories; how we consume—and are encouraged to consume—these stories, often as a performative act.
This story came from a writing prompt about how “kitchen spirits are the friendliest ghosts,” which of course made me think about the other, nastier spirits lurking within the household. I love writing about haunted places, and have always been interested in the parasitic nature of hungry spirits and their victims. After all, what’s the point of a haunted house if there’s no one within to be haunted?
Like many a ’90s kid, my first true foray into horror was R.L. Stine, with his Goosebumps and Fear Street series. The first book I picked up was Who’s Been Sleeping in My Grave?, about a boy named Zack who takes on his ghostly teacher. To say I was entranced was an understatement: Zack was an outsider, someone I could connect to and see myself in. There was a link I just couldn’t explain then. It wasn’t until a few years into reading Stine that I learned he was Jewish.
I wouldn’t describe it as waking up. If you’ve been in a car accident, you know the violence. One moment, your life feels the size of your body, muscular years of loves and hurts wrapped around a thousand calcified tasks, a routine that bears you up even on the mornings when nothing makes sense. Then your days break open with the sound of rupturing metal. You splinter like a windshield. It’s an awakening, of sorts, but it’s not like waking up.
I spend about a third of my life in a fire station, which is about as close as I can imagine to a haunted house. It’s a lot like a home, with a kitchen and living space, except at unpredictable moments the peace is interrupted by noises and lights followed by experiences which can be genuinely ghastly. So, my real home is as different from that as I can manage. We grow veggies, we raise chickens, we cuddle with dogs. Nurturing other living things is the only bulwark I’ve found against real horror.
I first wrote this poem back in 2020. I’ve been a lifelong fan of horror and was helping a friend start to get to know the genre. One of our conversations centered on just how many different ways a horror character can be haunted, and thus this poem was born.
Are you ready for Silver Nitrate, the new novel from Silvia Moreno-Garcia? Let horror expert Emily Hughes tell you why it’s a must-read this summer!
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