Editorial
Editorial: March 2018
Be sure to check out the Editorial for a rundown of this month’s content, plus all our news and updates.
Be sure to check out the Editorial for a rundown of this month’s content, plus all our news and updates.
One of my favorite words is chiaroscuro. I adore black and white films and the specific structure and design that goes into filming for that style, especially noir—and on the other hand, I also love super-rich-color-palette visual eye-feasts that are also abundant. So when it comes to my writing, I think I have a mix of intuitive flow and very specific, controlled architecture. (Great descriptors, by the way! I really like those.) I often think of stories in word clusters that evoke a style, or mood, or texture: so like, for “Mr. Try Again,” the words were vicious, teeth-filled, frigid.
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This month, Terence Taylor goes looking for fresh stand-alone fiction and finds He Digs a Hole, by Danger Slater, and Frankenstein in Baghdad, by Ahmed Saadawi.
While I was writing this story, I was thinking about this infuriating trend wherein women are expected to conform to beauty standards, but the products and industries and practices that they use to conform to those beauty standards are dismissed as frivolous and stupid. That line of thinking brought me back to fairy tales. In my view, the modern tendency to sneer at fashion and makeup while still expecting women to conform in certain ways is connected with the old trope in folktales where women are supposed to be passively beautiful.
Last summer at NecronomiCon Providence, I moderated a panel called “Faithful Frighteners,” in which we discussed whether or not it’s harder for an atheist to be frightened by a story in which the horror depends on the trappings of a religious worldview. Faith is by definition the suspension of disbelief, so it struck me as related when at the same convention, renowned anthologist Ellen Datlow commented that she finds supernatural horror more effective in short stories than in novels because it’s harder to sustain that suspension of disbelief for an entire novel.
Be sure to check out the Editorial for a run-down of this month’s dark content and to get all our news and updates.
iction is always political, especially when the author pretends it isn’t. The choice of what to depict and not depict is a judgment about which stories we privilege. To paraphrase something Rabih Alameddine has said much better: If, while the news is full of women calling out powerful men who subjected them to sexual violence, I’m writing a story about a man reconciling with his estranged werewolf father, that’s a political decision. That’s not to say there isn’t a great story there too, or that it’s bad or wrong to write that werewolf story, but we’re kidding ourselves if we say it’s a neutral choice.
Three-time Shirley Jackson Award nominee S.P. Miskowski was raised in Decatur, Georgia, but later moved to the Pacific Northwest. After receiving an M.F.A. from the University of Washington and two National Endowment for the Arts Fellowships, she seemed poised for a career as a writer of mainstream fiction (she cites Flannery O’Connor as an early influence), but instead found her way into the horror genre. She debuted with Knock Knock, the first of a series of books set in the fictional town of Skillute.
The idea for “Owner’s Guide” came from a memory I had of foul-smelling water in an apartment I once rented. Pipes were eventually replaced and the odor went away, but I’ll never forget that creepy-crawly, vaguely sinister feeling of violation and how much it bothered me. Not just the fact that this key element of my hygiene was somehow rotten, but the big unanswered question behind it all: why did the water smell? Even now, I’m not really sure I want to know the truth. Instead I wrote “Owner’s Guide” to solve that mystery in its own way.