They were on their way to El Paso when Yolanda asked Bernard to pull over. He choked the steering wheel until his fingers turned white. “Are you fucking serious?” “It’s okay,” she said shrinking into her seat, her hands rubbing together nervously between her thighs. “I can hold it.”

1. There is no better friend than the dermestid. I found them first in the woods, adorning the staring sockets of a coyote skull. So small I could have crushed them, they accomplished more than my child hands could—crawling, chewing, cleaning better than any household sponge or brush.

Southern Gothic lingers impolitely in doorways. Forget theme; the genre itself is liminal, slouching somewhere between literary fiction and the h-word: lauded and discarded, high-brow and tawdry, praised and shamed. Tell about the South, right? But for all its liminality, Southern Gothic seems obsessed with physical location.

Throughout its history, horror literature has frequently mediated its eponymous affect through an obsession with the act of writing. The field is replete with writer protagonists, with depictions of the writing act (through epistolary framing devices and metatextuality), and with written objects.

when i die i like
to think about the life
i lived. i like to be
alive again every time