Picture this: you've been hanging around for years in Uncle Geoffrey's stinking dark house, waiting for the old codger to pop off so you can inherit his loot. You've wasted your youth listening to his plaintive gibbering and cleaning out his bedpan. Finally, you can't stand it anymore. You wait until he's asleep and then you put his pillow over his face and push down hard until he stops kicking. Then you dig a hole at the bottom of the garden and bury him in it. At last you're free to live your life the way you deserve.
But Uncle Geoffrey comes back. And he brings with him Aunt Mildred, cousin Hildegard and a dozen other decomposing occupants of the local cemetery. They shuffle grimly towards the house. You try the back way out, but are stopped by a rotting corpse with green guts dangling from its bloated belly. You bolt the doors and secure the windows, but from somewhere to your left you hear the sound of breaking glass.
Then the front door comes flying off its hinges, and enter Uncle Geoffrey, his face grey and his eyes still bulging from the strain of breathing mucus-covered pillow instead of air. He moves towards you stiffly, rigor mortis turning his fingers into talons and his legs into rigid planks of wood. He's drooling down the front of his gown, and his bloodshot eyes never blink. From the way he's staring at you, you can't tell if he's overcome with rage or if he just wants to rip your head off and eat your brains.
You fumble with the shells for the shotgun you've just wrenched from the cupboard in the corner. You aim at Uncle Geoffrey's head and pull the trigger. Uncle Geoffrey's head explodes. But Uncle Geoffrey just keeps coming...
Anna Taborska was born in London, England. She was first caught reading horror at age ten, when a teacher, impressed that Anna was sitting at her desk during lunch break and reading rather than playing with other children in the school playground, found that Anna’s science book was actually hiding Guy N. Smith’s Night of the Crabs.
Brainwashing at a posh girls’ school didn’t succeed in suppressing Anna’s horror obsession, and, alongside William Shakespeare and Jane Austen, Anna avidly studied such classic authors as James Herbert and Stephen King.
Following a misguided attempt to wean herself off horror by studying Experimental Psychology at Oxford University, Anna went on to gainful employment in public relations, journalism, advertising and the BBC, before throwing everything over to become a filmmaker and horror writer.