Kathe Koja has long been regarded as one of the true artists in dark fiction, weaving horror into stories and novels that blur the lines of genres and realities. From her Stoker winning The Cipher back in 1991, she has upended what’s to be expected from the genre. Of course, she’s also diverted on occasion into historical fiction, young adult, suspense, and simply plain weird fiction over the years. In Velocities, some of her best has been collected, ranging from “Pas De Deux” from 1995 to “Urb Civ” from 2019 — a stunning array of styles and stories that, while accessible, reach into surreal corners of our reality and others, almost as if creeping down into the hole in The Cipher itself.
There’s kind of this unofficial debate among readers concerning those who enjoy unlikable characters and those who need protagonists to be tolerable in order to invest in their story.
I like despicable, flawed people. I think protagonists should be as varied as the people we encounter in real life. I don’t need to like people in order to emotionally invest in their stories — sometimes, hating them is just as fun as loving them.
The Women I Have Known
by Mary SanGiovanni
As a horror writer coming up in the first decade of the new millennium, I’ve had the opportunity to see the dual perspectives of women’s place in the horror genre, the former reflecting where we used to be, and the latter reflecting how much progress we’ve made.
Under My Skin
by Seanan McGuire
When I was a little girl, I wanted nothing more in this world than to grow up to be Marilyn Munster.