Catriona Ward, interview for The Guardian Mark Gatiss, in A History of Horror (2010) Pascal Laugier, for Electric Sheep Candyman (1992), dir. Bernard Rose Colin Dickey, Ghostland Carmen Maria Machado, for Paris Review Kier-La Janisse, House of Psychotic Women Possession (1981), dir. Andrzej Żuławski Mariana Enríquez, ‘Notes on Craft’, Granta Guillermo del Toro, Haunted Castles, Dark Mirrors
It wasn’t such a bad place, she thought, once you got out of the house. It was the house that disfigured the land.
Mexican Gothic by Silvia Moreno-Garcia
Noemí tried to think of the house filled with the noise of children’s laughter, children playing hide and seek, children with a spinning top or a ball between their hands. But she couldn’t. The house would not have allowed such a thing. The house would have demanded they spring from it fully formed.
Mexican Gothic by Silvia Moreno-Garcia
I am selfish, private and easily bored. Will this be a problem?
“Bilinguals overwhelmingly report that they feel like different people in different languages. It is often assumed that the mother tongue is the language of the true self. (…) But, it first languages are reservoirs of emotion, second languages can be rivers undammed, freeing their speakers to ride different currents.”
— Love in Translation by Lauren Collins from the New Yorker, August 8 & 15, 2016
“Bilinguals overwhelmingly report that they feel like different people in different languages. It is often assumed that the mother tongue is the language of the true self. (…) But, it first languages are reservoirs of emotion, second languages can be rivers undammed, freeing their speakers to ride different currents.”
— Love in Translation by Lauren Collins from the New Yorker, August 8 & 15, 2016
