Cynthia Pelayo received the Bram Stoker Award for her poetry collection Crime Scene, the first author and poet of Latin American descent to receive the award. She lives in Chicago and is completing a Ph.D. in English. Her novels include Children of Chicago, The Shoemaker's Magician, Forgotten Sisters, Vanishing Daughters, and It Came from Neverland (Crooked Lane Books, June 9, 2026), a retelling of Peter Pan set during World War I. She is the editor of the forthcoming horror anthology Something Followed Us Home: Tales of Latiné Horror (Primero Sueno Press/Atria, September 29, 2026).
Handsell readers your book in 25 words or less:
London, 1914. Wendy Darling has been telling the truth about what came through her nursery window 12 years before. No one believes her, until now.
On your nightstand now:
César Vallejo's Poesías Completas, Federico García Lorca's Selected Verse: Revised Bilingual Edition, The Selected Poetry of Rainer Maria Rilke, translated by Stephen Mitchell. I read a lot of poetry. I read poetry in the morning, poetry at night, and even poetry before starting to write fiction. Poetry teaches me how to compress emotions into the most economical use of words possible.
Favorite book when you were a child:
Grimms' Fairy Tales, Hans Christian Andersen's Complete Fairy Tales, basically any and all fairy tales. I love fairy tales because of the wonder and magic and mystery about them, and also, I acknowledge that many of the lessons in fairy tales are applicable to us today, warnings against walking alone at night, and being cautious of strangers.
Your top five authors:
Julia de Burgos. Shirley Jackson. Jorge Luis Borges. Toni Morrison. Federico García Lorca. Poets and authors. These authors represent a range of approaches that appeal to me, poetry about home and identity, poetry about love and the metaphysical and transcendence. And the authors' works here are writings that make us ask questions about the world that we live in and interrogate ourselves and one another.
Book you've faked reading:
If I say I've read it, I've read it. I always think it's odd that people will pretend to have read something. I would rather someone told me what they haven't read. I also think this happens because people may feel pressure to be seen as a certain literary type, if that makes sense. It's all right if you have not read that classic. It's all right if you have read 100 books this year. It's all right if you have just read one book this year. What I hope, ultimately, is to create reading environments where we are more welcoming and can convert people who have not read a single book in a year or longer into having read a book this year.
Book you're an evangelist for:
The Passion by Jeanette Winterson. In it, Winterson constructs sentences that carry the weight of the world. A friend recommended I read it because they said that there are words that Winterson strings together that create such an emotional world, and I agree.
We Have Always Lived in the Castle by Shirley Jackson. It's the most perfect novel about isolation, and about how two women have to create a world in order to protect themselves from that very world. Every time I reread it, I find something new in Merricat's voice. Jackson understood that the real horror is not the monster, it's the people in the community with pleasant smiles who perform care.
Pedro Páramo by Juan Rulfo. It's a novel about a man who goes to find his father, but what he discovers instead is a town full of ghosts. Rulfo wrote a very slim novel, but it's one that changed Latin American literature forever. Gabriel García Márquez said he couldn't have written One Hundred Years of Solitude if he had not read Pedro Páramo. Every sentence is a ghost speaking.
Book you've bought for the cover:
I have several editions of Frankenstein by Mary Shelley, and it's very often because of the varying covers. I just received this gorgeous copy with illustrations by John Coulthart from my editor. It's one of the most stunning editions I've ever seen, with vintage anatomical illustrations and sprayed edges. Also, maybe this is a hint about the next book I am working on.
Book you hid from your parents:
I didn't read commercial fiction growing up. Everything I brought into my house came from the school library or public library and those were all classics. They didn't object to any of that.
Book that changed your life:
Chicago: City on the Make by Nelson Algren. It was the book that showed me that I could write about a place and that I could write it lyrically, both with love and with critique. I read it at least once a year. I love Chicago. It's a magical city and an inspiration for much of my work.
Beloved by Toni Morrison. It's a book I avoided reading because I knew it would change me forever and I was not yet prepared for that change. When I did read it, it indeed shifted the way I look at writing and literature and the emotional impact that it can generate. Also, Morrison showed me that horror and literary fiction were never separate, and that a ghost story could be the most important American novel of the 20th century. It's this book that gave me permission to write what I write.
Favorite line from a book:
"Verde que te quiero verde." Lorca, from "Romance Sonámbulo." Five words that capture the complexity of the longing being communicated in this poem, green, sea, a horse, a dead woman.
Five books you'll never part with:
Rebecca by Daphne du Maurier. Beloved by Toni Morrison. The Bloody Chamber by Angela Carter. Pedro Páramo by Juan Rulfo, in Margaret Sayers Peden's translation. Ficciones by Jorge Luis Borges. Rebecca is another book I read frequently, as well as Ficciones. In all of these books, the authors challenge form, convention. They do things that keep the reader thinking and processing long after the book has been read. That's what I love, a book that changes you, rewires you, and stays with you.
Book you most want to read again for the first time:
One Hundred Years of Solitude by Gabriel García Márquez.
What you read when you're writing:
Poetry, almost exclusively. Vallejo, Lorca, Anne Carson, Anne Sexton, Pablo Neruda, Gwendolyn Brooks. I could read poetry all day and every day. It's the most emotional of our forms of writing, and it's the form of writing that allows me to feel something instantly.