The surgery is an aortic something-or-other—you don’t really bother to listen. You don’t need some surgeon barely out of pull-ups to tell you your heart hasn’t worked right since Sam died. They put you under for it, and isn’t that a wonder: to sleep without dreaming. Or if you do, the propofol makes you forget, and that’s almost as good.

I have a longstanding fascination with fungi—their interconnectedness, their otherness, their ability to emerge from seemingly nothing. I also have a longstanding fascination with serial killers and the dehumanization they inflict. When I began writing “Primordium” it was only a vignette about mushrooms and their drifting spores, but it grew unexpectedly to incorporate both interests.

Watching Jules claw his way back to life was the hottest thing I’d ever seen. This was the kind of scene artists immortalized with gold and lapis lazuli illumination, the kind of scene that soared, heaven-seeking, up cathedral vaults, buoyed by choirs of castrati. One moment, Jules was twitching in a pool of his own blood, and the next, he shuddered back into himself, lips opening like a crescent moon.

I have lost count of the number of discussions I’ve had about what the difference between horror and dark fantasy might be. Plenty of people have very crisp definitions and think applying them helps them better understand dark fiction. Me? I have a tougher time every year. I’m inclined to say that dark fantasy is the stuff that when you finish, you care more about what couldn’t be explained than the parts that were trying to make you feel scared.

It is something that is just accepted: forests are places where things become lost. There is a dark, entangled history that grows in the shadows of the woods, weaving through myth and legend—through stories we have told and warnings we have whispered into the night. The forest is the void of the unknown, a ravenous mouth that picks clean the bones of trespassers because the forest has a stomach, and that stomach has never been full.