Nonfiction
Interview: John Langan
John Langan’s newest book is a collection, Children of the Fang and Other Genealogies. He lives in New York’s Mid-Hudson Valley with his wife, younger son, and a room full of books—so, so many books.
John Langan’s newest book is a collection, Children of the Fang and Other Genealogies. He lives in New York’s Mid-Hudson Valley with his wife, younger son, and a room full of books—so, so many books.
I grew up in a house full of books. Mostly old, used, and weird. I don’t remember the first book I read in any language. I do remember being monolingual for most of my first half-decade, and what it felt like when the mysterious and exotic glyphs of English finally began to resolve into letters and words. Comic books were a big part of that, I think.
When I was in first grade—we’re talking 1970 here—I was excited to discover that the high school drama club was going to put on a play called The Ghoul Friend. I was already a dyed-in-the-wool horror geek by this time, and I pestered my parents until they agreed to let me go. I don’t remember much about the plot after all these years, but I remember there were lots of cool monsters . . . and at the end the actors took off their masks to reveal they were all humans in disguise.
Be sure to check out the editorial, where you’ll find a rundown of this month’s content and all our exciting news and updates.
This story is about anger that corrodes. It came from a place of being angry for years and years, and asking myself, What do I do in this terrible world? How do I go on? And what good does it do to harden myself to the world—who does that serve? All of these questions feel more urgent today than ever. I’d like to think that this story presents one possible remedy, one option.
Adam-Troy Castro reviews The Living Dead, a zombie novel written by George A. Romero and Daniel Kraus, and a new short story collection (Why Visit America) by Matthew Baker.
I wrote “We Came Home From Hunting Mushrooms” prior to the coronavirus pandemic, but the story has become more poignant for me over the last several months. It was informed by the same sense that we’re witnessing a systematic erasure of human beings on multiple fronts. I’m a paramedic serving a largely marginalized community, and I see patients every day who are treated like garbage by the US healthcare system. The Forgotten are deemed so unworthy that all evidence of their very existence is obliterated.
But did I really want to teach a horror class at a time like this? Did my students, who were being abruptly forced to leave campus and move back home, really want to continue to think about Horror as a genre? They would have all sorts of real-life horrors on their mind. Some of them would get sick, some would lose friends and family members. Why study Horror in the face of disaster?
Be sure to check out the editorial for a run-down of this month’s terrific content, plus all our news and updates.
I didn’t entirely realize I was writing a story about domestic abuse until I was halfway through it, although I probably should have. This one actually began life as three wildly different story ideas. One was pretty much just the title, honestly, and a vague inclination to push back on the idea that California doesn’t have seasons. One was about a witch trying to get rid of ants in her home by reluctantly learning to communicate with them—and later being able to call on said ants when someone attacks her.