Perhaps of all the literary, cinematic and stylistic manifestations of the ‘dark arts’, only Film/Roman Noir may rival folk horror in the quantity of deliberation, discussion, debate and disagreement. Indeed in converse of the latter subject on social media oft asked is the question “But is it Folk Horror?” in regards to a particular movie, book or image.  Sometimes this elicits the response of the ‘Folk Horror Police’ – fans who over-rigorously express their opinion. ‘Opinion’ is the key word however for there is no manifesto for folk horror– it is a mode named after the initial event. Adam Scovell’s ‘Folk Horror Chain’ acts as an excellent reference point for recognising commonly recurring elements (Landscape. Isolation. Skewed Belief System. Summoning or Happening) but it’s a guide not a mandatory tick box – there is still scope for deviation and room for differing opinions. Therefore multi-contributor books such as ‘Folk Horror New Global Pathways’ are extremely useful in this sometimes hazy field as they present a variety of opinions stemming from various different viewpoints, specific subject-matter and importantly from different cultures.

Whilst the 1960s/70s British cinematic triumvirate of Witchfinder General, Blood On Satan’s Claw and The Wicker Man have been written about extensively previously as they are important fixtures in the subject, folk horror is a form of narrative and aesthetic apparent in probably all cultures so it is good that this book does veer off the old beaten track. It wanders into diverse terrain ranging from Scooby Doo cartoons, typography, the short stories of E.F. Benson, occulture, video games, and dark tourism in Lancashire to the representations and relationships of folk horror in the cinema and culture of Mexico, Italy, Ukraine, Thailand and Appalachia. Inevitably politics do arise in the discussion. Horror fiction analysis can often be examined under a sociopolitical lens as a lot can be told about a people by looking at what scares them – be it post-war trauma in the early 20^th Century Europe, atomic/ alien fears of 1950s America, generational counterculture/mainstream conflicts in the 1960s and 70s to the uncertain polarised times we currently live in. Folk horror is particularly laden with such considerations and this book does explore issues such as colonialism, sexuality and agrarian/industrial conflict.  

Actually, regarding traditional vs technological conflict, I was disappointed to see however that AI generated imagery was used for the cover – especially as the book itself notes the connection between handicraft and folk horror. It would have been far more appropriate to have used imagery by an actual artist – be it centuries old chapbook illustration, a still from a relevant film or a piece by one of the many creatives currently working in the subject field, rather than using generative text. 

Back to the actual text: Along its course many examples of folk horror fiction are addressed, some familiar and others more obscure. I was particularly pleased to see the writing of actor-turned-author Thomas Tryon get good coverage as his work in the field is too often overlooked. Some less familiar works such as the films Jug Face and The House With the Laughing Windows are also given more attention than they usually get. I was surprised to see Robert Eggar’s The VVitch get such scant attention however, particularly in discussions of the folkloresque as it’s a good example of new folk horror using authentic old folklore in its narrative, considering that there is numerous referencing of Ari Aster’s Midsommar, (a film that I seem to be in the minority of personally finding both overrated and underwhelming).

© Gerry24

Of Fortean interest the book discusses the Pendle Witches, the folkloric entities La Llorona and Phi Pop, ritual sacrifice, and the occult revival in relation to the influence, inspiration and development of Folk Horror. As a multi-contributor book, some chapters will be of differing interest to individual readers and the style of writing can vary, but it holds together very well. It is an academic book (as evidenced by its hefty University Press price tag) but much of it is written with an apparent enthusiasm for the subject that enables it to flow fluently, making it readable to a wider audience with an interest in this particular field.

Folk Horror New Global Pathways
Various Authors. Ed: Dawn Keetley & Ruth Heholt.

University of Wales Press. 2023.

Pb. 280 pgs. £50.00 ISBN: 9781786839794

Reviewed by Andy Paciorek. This review first appeared in Fortean Times magazine