31 Days of Stories 2026, Day 26: “Children of the Corn” by Stephen King
The children of Gatlin are enthralled by a violent version of religion based on sacrifice and bloodshed.
31 Days of Stories 2026, Day 20: “Schalken the Painter” by Sheridan Le Fanu
The story anticipates Stoker's novel and an entire library of supernatural fiction that follows it.
Dying for a job: In his latest novella, writer Nicholas Binge offers a dark, Lovecraft-inflected vision of late capitalism
What begins mildly enough takes a sharp turn toward cosmic horror about a third of the way through.
“They’re coming for you”: Pulitzer Prize winner Daniel Kraus dissects – in minute detail – the film that made a huge impact on him as a writer and viewer
Kraus provides such a deep dive that even people who have seen the film multiple times will find something new to discover in his text.
Attend the tale: Caroline Glenn’s debut novel is a slick, sick satire that wears its influences on its sleeve
Glenn proves sharply observant about the acquisitive, beauty-obsessed milieu crammed with influencers and people jockeying to be the next big thing.
Ol’ blue eyes: Monika Kim’s debut novel is a grotesque howl of Asian feminist rage
Kim's novel goes to some undeniably dark places.
Michael Wehunt’s smart and creepy metafictional horror novel provides equal parts fear and pathos
Wehunt peppers his story with observations about the horror genre and how it operates.
Fear factor: Behavioural scientist Coltan Scrivner explains why horror may be good for us in Morbidly Curious
Scrivner suggests that people have a certain "sweet spot" when it comes to how frightened they like to be.
Trad wives and demon children: Eleanor Johnson examines the ways in which 1970s horror films dovetailed with 2nd wave feminism
Rosemary's Baby provides an entrée for Johnson to discuss five other films she collects under the umbrella of what she refers to as "domestic horror."
Going viral: A group of isolated scientists encounters a strange “specimen” in Sarah Gailey’s Spread Me
What Gailey has produced owes less to Ridley Scott's Alien than to John Carpenter's 1982 movie The Thing.