The short story Cold Little Bird by Ben Marcus appeared in the magazine New Yorker in 2015. There is nothing supernatural or crimina in the story but it is nonetheless very chilling. The story is of growth from a pre-adolescent into adolescence--the parents experience of losing their son, not through death or his running away, but by his maturation. This may not sound scary but the way the author handles the developmental change and the story surrounding it is profoundly skillful.  This is sort of like the Exorcist without a devil. The change is not wrought from evil but just normal development.

Jonah, the boy, is sweeet and bright but suddenly becomes caustic and detached to his parents. He no longer wants to be hugged, he is sharp and decisively cruel with his with retorts.   He scolds his pushes his parents away and blocks any attempt for them to be warm. As the clueless parents attempt to deal with the developmental sequence. Jonah becomes ever closer to a younger brother, which is perceived as a taunt or maneuver at relational aggession. And finally,  sadistically, he buys and reads pulp antisemitic literature, that he knows will infuriate his father. Meanwhile he justifies these actions with a maddingly logical style. Mother, as hapless as the father but in a somewhat different way, takes on a concerned but justifying tone--partly excusing the son's behavior while criticizing her husband. The last draw is when Jonah hints obliquely that he will report the father for child abuse for hugging him against his will. They head to a pompous psychiatrist, and the session is a disaster. 

Reviews of Cold Little Bird have noted the above.  A truly oppositional child can indeed seem like a demon. If they are bright, newfound linguistic powers can be cruel. If they are socially adept, they may form alliances that further defy the parents, and even their continued high regard from teachers and other parents serves as a form of relational aggression The dialogue shows Marcus's ability to mimic exquisite verbal cruelty-- language that insinuates, irritates, invalidates and forms knotty linguistic insults. From his newfound perch of detachment, he simply can form and hurl verbal barbs and feel little empathy for the target.  

The escalating sadism of the story reminded me somewhat of D. H. Lawrence's The Prussian Officer.