To accompany our fall 2025 issue (22.2), we have curated a craft folio on horror, the uncanny, and/or the strange, after noticing that several pieces in the print issue include that theme. Here is Jen Fawkes’s piece. A Good Man Is Hard to Find and Other Stories. Flannery O’Connor. Harcourt, Brace and Company, 1955. Reprint, …
To accompany our fall 2025 issue (22.2), we have curated a craft folio on horror, the uncanny, and/or the strange, after noticing that several pieces in the print issue include that theme. Here is Richard Scott Larson’s piece. My Corpse Inside. Wes Jamison. University of Georgia Press, 2025. 186 pp. $27.95 (paper) A blurry human …
To accompany our fall 2025 issue (22.2), we have curated a craft folio on horror, the uncanny, and/or the strange, after noticing that several pieces in the print issue include that theme. Here is Ginger Ko’s piece. Vague Predictions and Prophecies. Daisuke Shen. Clash Books, 2024. 248 pp. $18.95 (paper) “Duckling,” a short story from …
To accompany our fall 2025 issue (22.2), we have curated a craft folio on horror, the uncanny, and/or the strange, after noticing that several pieces in the print issue include that theme. Here is Raul Palma’s piece. As storytellers, we tend to place a lot of stock in world-building. We sketch out societies, bureaucracies, and …
To accompany our fall 2025 issue (22.2), we have curated a craft folio on horror, the uncanny, and/or the strange, after noticing that several pieces in the print issue include that theme. Here is CD Eskilson’s piece. What do we mean when we call something a monster? The word itself is likely to have come …
Artist’s Statement I used to travel constantly or at least as much as I could afford. I slept in my car, on couches, and in cheap motels. Sometimes I didn’t sleep at all. I liked being awake when the world slept. Thirty-minute exposures in the middle of the night. These photographs aren’t that, though. It’s …
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