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    Nightmare Magazine, Issue 86 (November 2019): Nightmare Magazine, #86
    Nightmare Magazine, Issue 86 (November 2019): Nightmare Magazine, #86
    Nightmare Magazine, Issue 86 (November 2019): Nightmare Magazine, #86
    Ebook117 pages1 hour

    Nightmare Magazine, Issue 86 (November 2019): Nightmare Magazine, #86

    By John Joseph Adams, Adam-Troy Castro, Seanan McGuire and

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    About this ebook

    NIGHTMARE is an online horror and dark fantasy magazine. In NIGHTMARE's pages, you will find all kinds of horror fiction, from zombie stories and haunted house tales, to visceral psychological horror.

    Welcome to issue eighty-six of NIGHTMARE! This month, we have a new story by Adam-Troy Castro ("Dollhouse") that redefines the words "dysfunctional family." Gwendolyn Kiste gives voice to Dracula's most famous victim in her original short story "The Eight People Who Murdered Me (Excerpt from Lucy Westenra's Diary)". We also have reprints by Seanan McGuire ("With Graveyard Weeds and Wolfbane Seeds") and Suyi Davies Okungbowa ("The Secret Life of the Unclaimed"). In the latest installment of our column on horror, "The H Word," Mica Dean Hicks talks about the role of cruelty in horror fiction... and life. We also have author spotlights with our authors and a feature interview with Lois H. Gresh.

    LanguageEnglish
    PublisherJohn Joseph Adams
    Release dateNov 1, 2019
    ISBN9781393092193
    Nightmare Magazine, Issue 86 (November 2019): Nightmare Magazine, #86
    Author

    John Joseph Adams

    John Joseph Adams is the series editor of The Best American Science Fiction and Fantasy and the editor of the Hugo Award–winning Lightspeed, and of more than forty anthologies, including Lost Worlds & Mythological Kingdoms, The Far Reaches, and Out There Screaming (coedited with Jordan Peele).

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      Book preview

      Nightmare Magazine, Issue 86 (November 2019) - John Joseph Adams

      Nightmare Magazine

      TABLE OF CONTENTS

      Issue 86, November 2019

      FROM THE EDITOR

      Editorial: November 2019

      FICTION

      Dollhouse

      Adam-Troy Castro

      With Graveyard Weeds and Wolfsbane Seeds

      Seanan McGuire

      The Eight People Who Murdered Me (Excerpt from Lucy Westenra’s Diary)

      Gwendolyn Kiste

      The Secret Life of the Unclaimed

      Suyi Davies Okungbowa

      NONFICTION

      The H Word: On Cruelty

      Micah Dean Hicks

      Interview: Lois H. Gresh

      Lisa Morton

      AUTHOR SPOTLIGHTS

      Adam-Troy Castro

      Gwendolyn Kiste

      MISCELLANY

      Coming Attractions

      Stay Connected

      Subscriptions and Ebooks

      Support Us on Patreon, or How to Become a Dragonrider or Space Wizard

      About the Nightmare Team

      Also Edited by John Joseph Adams

      © 2019 Nightmare Magazine

      Cover by Mikesilent / Adobe Stock Images

      www.nightmare-magazine.com

      From the EditorBEST AMERICAN SCIENCE FICTION AND FANTASY 2018

      Editorial: November 2019

      John Joseph Adams | 117 words

      Welcome to issue eighty-six of Nightmare!

      This month, we have a new story by Adam-Troy Castro (Dollhouse) that redefines the words dysfunctional family. Gwendolyn Kiste gives voice to Dracula’s most famous victim in her original short story The Eight People Who Murdered Me (Excerpt from Lucy Westenra’s Diary). We also have reprints by Seanan McGuire (With Graveyard Weeds and Wolfbane Seeds) and Suyi Davies Okungbowa (The Secret Life of the Unclaimed).

      In the latest installment of our column on horror, The H Word, Mica Dean Hicks talks about the role of cruelty in horror fiction . . . and life. We also have author spotlights with our authors and a feature interview with Lois H. Gresh.

      ABOUT THE AUTHOR

      John Joseph Adams, in addition to serving as publisher and editor-in-chief of Nightmare, is the editor of John Joseph Adams Books, an science fiction and fantasy imprint from Houghton Mifflin Harcourt. He is also the series editor of Best American Science Fiction and Fantasy, as well as the bestselling editor of many other anthologies, including The Mad Scientist’s Guide to World Domination, Robot Uprisings, Dead Man’s Hand, Armored, Brave New Worlds, Wastelands, and The Living Dead. Recent projects include: Cosmic Powers, What the #@&% Is That?, Operation Arcana, Loosed Upon the World, Wastelands 2, Press Start to Play, and The Apocalypse Triptych: The End is Nigh, The End is Now, and The End Has Come. Called the reigning king of the anthology world by Barnes & Noble, John is a two-time winner of the Hugo Award (for which he has been a finalist eleven times) and is a seven-time World Fantasy Award finalist. John is also the editor and publisher of Lightspeed Magazine and is a producer for Wired.com’s The Geek’s Guide to the Galaxy podcast. Find him on Twitter @johnjosephadams.

      FictionDiscover John Joseph Adams Books

      Dollhouse

      Adam-Troy Castro | 1734 words

      There is a man locked in the dollhouse.

      He is not a doll-sized man. He is a full-sized man. The structure is designed for miniatures, and he is trapped inside it, knees up against his chest, head scraping the ceiling. He only fits because the architects of the little house equipped it with a palatial foyer, the kind that, in real houses, is designed to make visitors gape at the sheer magnificence of the space. The effect is lost on the full-sized man. To him, it’s more like a cabinet.

      Seen from the outside, the front of the house is a great white mansion, with pillars supporting a flourish of an overhang. The door has a bronze knocker hanging from a gargoyle’s mouth. The entire front wall is itself a pair of double doors, designed to swing open and reveal the grand foyer where the man squats imprisoned, as well as the ballroom, a dining room with seating for twenty, a kitchen, and an expansive library. In the foyer, two sweeping staircases (which further constrict the space the naked man is forced to occupy), lead to a second floor with a master bedroom and the domains of four children; two boys and two girls. Each room is completely furnished with miniatures down to a thumbnail-sized notebook on the oldest girl’s tiny little desk. Every detail has been produced with absolute fidelity to the suggested reality, including closed doors that exist in places that must represent toilets. Of course, the naked man does not know what lies upstairs, or in the rooms to his left and the right. He is far too large and the house too small to permit any wandering from room to room. He is the prisoner of the foyer.

      He is not completely locked in darkness, this naked man. One of the design elements of the house, high above the front door, is an arched, semi-circular window cut into panes that resemble orange slices. It is positioned at eye level for the naked man, and through it he has his only view of the outside world. He can see the wallpaper, the edge of a sliding closet door, and the foot of a canopy bed, all shocking pink. He sees a giant teddy bear at the foot of the bed, head cantered at an angle that simulates eye contact. He sees a nutcracker in the shape of a toy soldier mounted on the wall, its cheeks adorned with perfect circles of rose color.

      This is clearly the bedroom of someone’s pampered baby girl. He is a decent man, and this makes him as uncomfortable morally as he is physically, because it makes him feel like a lurking predator. He does not want to be found naked in the room of a child. But the flip side of that is, of course, that if he is found, he might be let out, and so much time has passed since he first disappeared from his own comfortable life and found himself here that he aches for that to happen, regardless of the consequences. He is kept from realizing that he has been locked up, and alive, for far too long for his plight to make any sense. Months. Years, maybe. He lives in the moment. Sooner or later, the girl will save him.

      There is a woman sewn inside the teddy bear.

      Its dimensions are not human dimensions, its proportions are not human proportions, but she has been folded and arranged in ways that position her long limbs within the creature’s stubbier ones, her hands clutching her shoulders, her lower legs tucked in a kneeling position, so that where the beast’s limbs end with padded stubs, she has elbows and knees. Her head is of course in the stuffed animal’s head and she can see out, albeit not through the glossy black circles it has for eyes, but through slits harder to discern, hidden against printed patterns on the bear’s cheeks. What she sees, because she has been arranged with her head facing that direction, is the dollhouse, and she can see the two blinking eyes behind that skylight of an upstairs window. She has been blinking nonstop for forever, to get the attention of those eyes, to instill in them the knowledge that she is here, staring back at him, but it seems that he cannot see past the bear’s face, to her own equally captive heart, stuck in this place just like he is stuck in hers.

      She thinks she knows who it is.

      This

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