‘The forests have unleashed a tempest, and spores now dance on the wind.’ — Dr João Miguel Gonçalves. Mycologist.
For any first-time visitor to the sprawling complex of the South Carolina Department of Health and Environment Control on Bull Street, Columbia, finding the whereabouts of Doctor Aline Silva could prove as
In this essay, I explore how adoption of the graphic novel form by the American cartoonist Alison Bechdel for her 2006 autography Fun Home: A Family Tragicomic allowed her, I contend, to create a narrative with a deeper, more nuanced message than that possible in prose form alone.[1] Of
Never had I so longed to possess the power of precognition. Were it the case, then I would have foreseen upon waking that by eleven o’clock, destiny had appointed this day and time to have me staring at the flaking, corporation brown gloss paint of another’s closed front
As an ardent student of Greek mythology, Jacky De’Ath had long ago concluded that the Moirai—the trinity of goddesses more commonly known as The Fates—had spun and fashioned their web of destiny so intricately and tightly that they would compel her to adopt a life of criminality.
[Trigger warning: physical and psychological abuse. Language]
Although only nine years of age and small framed, Jack was a sturdy and tough little character who appeared to possess an inexhaustible supply of energy and strength. As such, he was still of the age where this boundless get-up-and-go meant he needed
The following is part of the introduction to the 1910 horror novella, The Wendigo, by the English broadcasting narrator, journalist, novelist and short story writer, Algernon Henry Blackwood. The story was first published in The Lost Valley and Other Stories (Eveleigh Nash, 1910).
A considerable number of hunting parties were
