Leech Girl Lives Rick Claypool 307 pages Space Boy Books (2017)
Read this if you like: Philip K. Dick, high-tech dystopias, creature horror
tl;dr summary: Woman on far-future fungus-infested Earth gets leeches for arms, uses them to save humanity.
Matthew Cheney 270 pages Third Man Books (2023)
tl;dr summary: Genre-spanning and blurring collection that is a study in crafting voice and balancing realism against absurdity.
Read this if you like: Juan Villoro, David Foster Wallace, literary horror
I’ve been particularly fascinated by ghosts of late. They’ve always intrigued me to some extent—as an avid horror fan, I’ve enjoyed plenty a ghost story over my lifetime, though I haven’t played with hauntings in my fiction until the last few years. I mostly avoided them because of how widespread they already are. It’s just like dragons, vampires, or zombies—the world already has so many stories about them that they can quickly veer into tired cliches if a writer isn’t bringing something new to the trope.
One thing that sets ghosts apart from other fantastic creatures is that they’re one of the supernatural elements most likely to feature in literary fiction. From Hamlet’s father to Sethe’s daughter in Beloved, there are ample examples of hauntings across the literary canon. I see two potential reasons for this:
A lot of people don’t think of ghosts as speculative. In a 2021 survey, 41% of respondents said they believe ghosts exist, a similar percentage to those who believe in demons. That’s lower than the percentage who believe aliens exist (57%) but much higher than belief in bigfoot (13%), vampires (8%), or werewolves (9%).
Ghosts and haunting are easy ready-made metaphors for emotions like grief, regret, loss, and nostalgia. This is reflected in our euphemistic language for these feelings—you might say someone is “haunted by the past” or that a place is “a ghost of what it once was.” Ghosts are reminders of what used to be, unchanging intrusions of the past on the present.
Their ephemeral nature makes it easier to insert them into a narrative. The “suspension of disbelief” factor is lower with a ghost than something corporeal because the reader has less of an expectation that it would leave physical signs and evidence. This also allows for more play between what’s real and what’s imagined by the narrator, especially in first-person narratives.
Jason DeYoung 44 pages The Cupboard Pamphlet (Volume 42, 2020)
Read this if you like: Cormac McCarthy’s The Road, Carmen Maria Machado, character-driven apocalyptic horror
tl;dr summary: Three people survive together during a quiet apocalypse
See the book on The Cupboard’s website
Brandon O’Brien 64 pages Interstellar Flight Press (2021)
Tl;dr summary: Eldritch horror meets pop culture meets Blackness meets black humor, all mixed together and with line breaks
Read this if you like: Elwin Cotman, speculative poetry, hip hop culture
V. Castro 141 pages Creature Publishing (2021)
Tl;dr summary: Teenage girl gets possessed by sin-eating Aztec goddess
Read this if you like: Mesoamerican mythology, folk tales and fairy tales, spiritual horror
A lot of the mythological and fantasy creatures that have endured in cultural awareness are European in origin—things like fairies, elves, dwarfs, mermaids, or ancient Greek mythological creatures like gorgons, sirens, harpies, or cyclopes.
Using these familiar creatures in your fiction has advantages. Your readers have likely already heard of them, in some form, so they come into the story with some background and details already in mind and you don’t have to provide as much description or explanation in the text.
That pre-knowledge can also be a kind of baggage, though, and could limit your creative freedom to use the beings the way that best suits the story. They can also run the danger of reading as cliché or referential.
And the truth is—these European-derived critters are just the tip of the iceberg. There are tons of other mythical and supernatural beings from all corners of the world and all eras of history.
I recently finished watching the Netflix miniseries The Fall of the House of Usher and thoroughly enjoyed it. It had everything I like in my horror: a dollop of creepiness, a dash of humor, and a high body count and gore quotient (also Mark Hamill as an evil lawyer).
While there’s a lot to discuss about Fall of the House of Usher—I may do a future blog post on the panoply of Poe references if the spirit so moves me—the thing that most impressed me was how well it pulled off two simultaneous and complementary tropes, what I’ll call “inevitable demise” and “cruel and unusual death.”
These are often found side-by-side in horror movies. Most frequently, at least in my experience, they show up in slasher films, usually ones that are either intentionally campy or are just plain not that good. This isn’t coincidence. These tropes are difficult to pull off with any kind of storytelling grace. When paired, they tend to end up in narratives where subtlety and depth weren’t ever on the menu.
Just about every culture has its share of monsters, and whether they’re slain by a hero or said to be still haunting the deepest, darkest, children-shouldn’t-go-there-iest parts of their landscape, these creatures can be excellent fodder for the storytelling imagination.
Part of my mission during my recent deep dive into world mythologies was to learn more about some of these lesser-known cryptids, critters, and beasties. Here are some of the ones that most tickled my fancy.
Octavia E. Butler 264 pages Beacon Press (1979)
Read this if you like: Time travel sci-fi, Afro-horror, Beloved by Toni Morrison, Doomsday Book series by Connie Willis tl;dr summary: Modern black woman is pulled back in time to save her slaveholding ancestor.
