Nightmare Magazine

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Nonfiction

Editorial

Editorial: June 2022

The last few summers here in Oregon have been pretty lousy. We’ve had wildfires, riots, threats against our governor’s life, and of course, a nightmarish heat dome that killed seventy people here in Portland. For those of us who once enjoyed summer for outdoor adventures, berry-picking, and Vitamin D production, summer has been transformed into a horror villain.

Author Spotlight

Nonfiction

Interview: Taylor Grant

Taylor Grant has developed and written children’s series, including the animated Beetlejuice; he worked alongside the legendary Stan Lee at Stan Lee Media; he’s written short films (The Vanished and Sticks and Stones) that premiered at the Cannes Film Festival; and his work as a writer of short horror fiction has garnered him two Bram Stoker Award nominations.

Author Spotlight

Nonfiction

The H Word: The Search for Romanian Horror

Much like The Last Unicorn in her woods, I one day set off to find my own kind. And by “kind,” I mean a community of Romanian Horror writers; something I thought I’d surely find within minutes. After all, what other country could be a better petri dish for all sorts of dark fiction? It’s hard to imagine a place more represented in Horror than Romania, except maybe suburban Maine. 

Editorial

Editorial: May 2022

Some stories are impossible to write when you’re too close to the events that inspire them. Your feelings can be so huge that they overpower fascinating situations or wonderful settings. There are places and events in my life I’ve tried to write about that simply refuse to be transformed into words. Despite my impatient nature, I’m learning to wait for time to rub the rough edges down so I can get a better grip on the material.

Author Spotlight

Nonfiction

Book Reviews: April 2022

This month Terence Taylor reads two works centered on identity: Ally Wilkes’ new polar horror novel, All the White Spaces, and Aaron Durán’s new comic book, Season of the Bruja.

Author Spotlight

Nonfiction

The H Word: Pacing in Horror

Somewhere along the way we have lost our patience for the slow, unfurling depth of horror. And I think that’s a problem. I’m a member of several film groups on social media, and I constantly see complaints about the slow pace of The Green Knight, or the arthouse vibe and weirdness of Under the Skin, or frustration and boredom at the pie-eating scene in A Ghost Story. No, my friend, no. I disagree. We need to let these stories unfold, we need to sit in the space of that telling.

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