The setting wasn’t drawn from my experience, but an ex-boyfriend of mine used to live in a rural town in Tasmania and he told me a story about how he once saw a stranger walking across their school sports field carrying a large knife. It was the germ for this story so I kept the setting. Plus, death is almost a character in this story so I wanted to have a barren, hard setting as the backdrop.

[Setting is] pretty crucial ever since Ann Radcliffe used it as a source of atmosphere in her novels. The method was refined and focused by Poe—look at “The Fall of the House of Usher,” where the setting can even be said to share its spirit with those who dwell there. Several of Lovecraft’s greatest tales are inspired by real American locations, while others have their roots in his imaginative notions of places he hadn’t visited—Australia, the Antarctic.

Character always drove everything for me. A good setting becomes a kind of character.

Vietnam gave me the central image for “Graves.” We were airlifted into an area that included a graveyard, which had been extensively shelled. Plenty of moldy old corpses. Very different from the fresh ones we normally dealt with.

I think the uncanny and the horrific are seen most powerfully from the edges of society. Because of this, I often choose narrators who are marginalized in some way, or whose connections to mainstream culture are for some reason tenuous.