Treasury of Folklore: Woodlands & Forests: Wild Gods, World Trees and Werewolves by Dee Dee Chainey & Willow Winsham – Book Review

Following in the footsteps of the Treasury of Folklore: Seas & Rivers: Sirens Selkies and Ghost Ships (Reviewed Here ) folklorists extraordinaire Dee Dee Chainey and Willow Winsham (the masterminds behind the #FolkloreThursday social media phenomenon) take us by the hand now like babes in the wood and lead us … er … into the woods! But fear not, you could find no better guides to alert us to the wonders and the woes of this strange sylvan kingdom.

Within its pages, upon the paper that came from the woods itself, we are introduced to many amazing arboreal creatures and woodland wanderers from forests the world over. Some of them heroes and heroines like Vasilisa the Beautiful, a fair maiden who braved the cold Birch forests of old Russia and encountered one of folk horror’s favourite supernatural witches – the iron-toothed crone, Baba Yaga, and Paul Bunyan, the giant lumberjack of the North American timber lands & his loyal companion the blue-haired moose, Babe. We encounter strange creatures such as the timid Squonk which upon capture would dissolve into nothing in a flood of tears and the human-faced tree dogs of China – the Penghou. We meet gods and demi-gods and elemental spirits of the wild woods – the Leshy, Hamadryads, Herne the Hunter, the Moss People and many many more. We encounter those denizens of dark woods for centuries – the bears and the wolves, yet these bears and wolves may be more than we dreamed and may disturbingly be more like us than we’d dare to imagine.
And we hear the lore of the trees themselves from the Dragon’s Blood Trees of Yemen to the ancient funereal Yews of Britain; from the sacred Banyan trees of India to the giant old Cedars of Canada.


The book is illustrated throughout by the charming block-print style illustrations of Joe McLaren. Images both dark and strange but with a quirky humour to them, which will likely appeal to readers of a wide age-range. Again as with the Seas and Rivers volume, some adult subject matter is touched upon but with parents’ own discretion and judgement I could see this book being popular with both themselves and their kids. I know I would have loved these Treasury books as a youngster. Furthermore I remember years ago when I was doing Tree Warden training at an agricultural college one of the tutors asked the class what it is we liked or indeed loved about trees and forests. I had numerous reasons, their role in the environment and natural habitat, their look both as pleasing landscape and for their interesting aesthetic from the point of an artist, their smell, their ambience and I also mentioned their role in folklore. At the end of the class another student approached me and asked if I could recommend any books that featured the folklore of trees and had Dee Dee and Willow’s book been available then I know it would have been top of the list. It is a great introductory book to the topic, yet it is also so diverse and so widely researched that all followers of folklore no matter how seasoned will find something unfamiliar or of further intrigue within this beguiling little book. I myself was rather bemused to encounter Tió de Nadal, within these pages. If unfamiliar with this bizarre Yule Log of Catalan tradition, then I’ll say no more and let you discover this rather odd custom for yourself within this fantastic book.
Woodlands & Forests makes an excellent companion both visually and content wise to the Seas & Rivers volume and also Dee Dee’s earlier A Treasury of British Folklore.
It would make a great little present for a loved one or for yourself for Halloween or a great stocking filler for Christmas … but maybe not put it in the same stocking as Tió de Nadal !!

Treasury of Folklore: Woodlands & Forests: Wild Gods, World Trees and Werewolves.
Dee Dee Chainey & Willow Winsham
Batsford. 2021. Hb. Illus. 192pgs.

Review by Andy Paciorek


The Satyr & Other Tales: Book Review



Stephen J. Clark’s The Satyr & Other Tales is an anthology of his earlier book releases The Satyr (2010) and The Bestiary of Communions (2011) now released as a paperback edition.

Uniting the 4 tales in a single anthology is a good move as the tales compliment each other and are united not only by all the tales being set around the times of the two world wars but there is also a thread of artistic significance that weaves through all the stories.



Beginning with the book’s eponymous tale The Satyr, we the readers, are taken into the world of the great artist and occultist Austin Osman Spare. Although familiar no doubt to many Folk Horror Revivalists, Spare’s star as one of Britain’s greatest lost artists has begun to deservedly shine more in the last decade, he is still too unknown a quantity in the wider public consciousness. Though he was accepted into the Royal Academy whilst still a teenager and reputedly asked by a pre-war Adolf Hitler to paint his portrait (which Spare refused), he faded into semi-obscurity living almost a hermitic (and hermetic) life, reportedly paying for beer with paintings and taking care of a clowder of stray cats in his small London home. Being a somewhat enigmatic and eccentric character in real life, he is suited to be cast as a character within fiction. For me however there is always a sense of reticence upon beginning any fictional tale that features real people – what if their characterisation is ill-fitting and totally alien to how I imagined that person? In this case my fears are unfounded, Clark’s personification of Spare is well crafted. For the most part Spare is represented by reputation within the tale as the mysterious ‘Borough Satyr’ but when we do get to meet him in person as it were, Clark’s portrayal of him is very much how I’d envision the nature of Spare.
The main characters of the story however are an ex-con called Paddy and a strange visual artist he has took up with, who (her own name being unknown), is referred to as ‘Marlene Dietrich’ and her pursuer, a psychiatrist named Doctor Charnock. The story unfolds in WWII London during the aerial blitzkrieg as Marlene seeks to find Austin Osman Spare through the bombed out rubble of the nation’s capital and show him her portfolio of strange esoteric drawings and of Charnock’s endeavours to seize those drawings for her own purpose.
A difference made by Clark and his publisher Swan River Press to the anthologised edition is the inclusion of Clark’s own drawings in the style of Spare. I am biased as I approve of illustrated books and I like it when authors illustrate their own work as it gives a greater insight into the original creative vision of the piece. Clark does this justice. The art certainly emulates Spare but not only does it illustrate the story, it is suggestive of what Marlene’s own portfolio would look like. The tale itself is an esoteric adventure of crime, war and occult drama.




Unfortunately Clark has not illustrated the second half of the book, the trinity of novellas that make up The Bestiary of Communion. It would have been interesting to see the tales illustrated in the author’s own hand or if he can evoke (invoke?) other artists as well as he has Spare, then illustrations in the manner of Bruno Schulz, Nicolai Kalmakoff and Marie Čermínová would be fitting as probably would be a style befitting Alfred Kubin, Hugo Steiner-Prag, the New Objectivity movement or others of that era and ilk.
It is curious that earlier authors that came to mind in reading The Satyr, literally made their presence more apparent in the triumvirate that followed.

In the first of the Bestiary Tales, The Horned Tongue, a bookseller in Amsterdam, comes to learn that there were secrets about his late wife that he would never have imagined. My mind had flitted to the Russian novel The Master and Margarita by Mikhail Bulgakov, upon the introduction of a key character and it becomes apparent that readers familiar with that book are intentionally led down that path. I found this theme that recurs of having real creative luminaries inspiring and influencing the texts intriguing.


The Lost Reaches is the next tale and possibly the one that sidesteps most from early 20th Century European gritty post-decadence into the world of surrealism as refugees take sanctuary in an art-house nestled in the Carpathian mountains.
Again another author whom passed through my mind in reading Clark’s work first came to mind and then manifestation. This time the remembrance of Bruno Schulz makes an appearance. Schulz, a Polish-Jewish artist and writer, whose work has been brought to the screen and a wider audience by both the visionary film director Wojciech Jerzy and the master animators The Brothers Quay, was tragically murdered by the Nazi regime during WWII.


Finally in a re-working of his novella My Mistress The Multitude, now renamed The Feast of the Sphinx (personally I preferred the first title, but I appreciate the name change in differentiating the versions) takes us to Prague whereby a strange chimeric Countess becomes the focus of attention and obsession in a time where the imminent arrival of invading Germanic troops into the city is a cause of profound dread.

These collected tales of Stephen J. Clark put me in mind of several notable authors – in addition to those mentioned above I perceived shades of Franz Kafka, JK Huysmans and Gustav Meyrink. That is not a complaint but a compliment. Clark’s writing is not derivative of these authors, his work is not a pastiche – it is just a case that his vision and settings are evocative of those times and souls and this book can stand alongside the works of these authors on its own merits. The Satyr & Other Tales may very well then be of interest to folk who like that strain of weird fiction that rose from the bones of Fin de Siècle decadent Europe, through secessionist expressionism and entartete kunst to interbellum and post-war surrealism. But how would it fare to the general reader? You do not need to be familiar with the artists and writers that cast a spell upon Clark’s tales – indeed his stories may be the gateway to discovering those creatives if previously unfamiliar with them and your curiosity piqued. But the tales need the reader’s attention, they are likely not suitable for a light summer holiday read but would suit dark nights and long rainy days.

Intriguing work, unknown to me upon its original release but that I’m very pleased to have caught The Satyr & Other Tales this time around.

All art © Stephen J. Clark

The Satyr & Other Tales is available from HERE and other online bookstores

Review by Andy Paciorek

Ironopolis by Glen James Brown: Book Review

https://i0.wp.com/storgy.com/wp-content/uploads/2018/08/Ironopolis_NEW_Cover_large.jpg?fit=328%2C480&ssl=1

It’s grim up north … actually it’s not entirely. There is a lot of beauty in the north but as Glen James Brown’s debut novel illustrates there is a bleakness to that beauty – the north has a shadow self and certain areas dwell in the shade that is cast. Places such as the Burn Estate, the central location of Ironopolis.

This is not a new book. It first hit the shelves in 2018, so it isn’t an old book either, but we are not ageist here at Folk Horror Revival and Urban Wyrd Project, we’ll happily review media of any vintage. Ironopolis missed my radar until now but here it is better late than never.

Why is it here? Is it Folk Horror (whatever that is)? It is all set around a rundown council housing estate in Teesside, so hardly … yet there is an element of connection (connection being the overlying arc of this novel) to which we’ll come. Does it then relate to our other main point of interest here, the mode of urban wyrd? Most definitely. Its name harks back to the area around Middlesbrough in the north-east of England- a region built on the back of iron and steel, on hard graft and rivulets of molten sweat. An area that was left to pick up the pieces when the arse fell out of these heavy industries. So yes, this book is an epitome of urban. The root of the word ‘wyrd’ relates to fate to destiny and within this weaving novel we see the threads of connectivity between numerous people of different generations associated to the Burn Estate, the hub of the tale and the heart of the characters we meet, some of which consider it a dark heart that beats to the rhythm of a heavy iron drum.

Set in different time periods and told in varying formats – letters, interviews, first and third person narrative and even pages from a prison diary, lives and deaths interconnect. The Burn Estate connects them and is a character in itself, albeit a senescent dying character that for much of the narrative is in a state of demolition and waiting for rebirth and regeneration – new buildings, new lives. Those that still live on the Burn in its dying throes alternately cling on to life there as long as they can or eager to leave take the offers made by the development company, sometimes uncertain of whether they will or whether they want to return to the place after it has been reinvented. But memories remain, as do lies and secrets … some very dark secrets.

Yet there is more than simply the interconnection of living jowl to jowl that binds the characters of this web of stories but something … someone… else that melds their lives. A presence older than the tower blocks and bedsits. It is this someone who takes us from the gritty social realism of the tale into the territory of magical realism. But do not be blindsided by the word ‘magical’ – the supernatural element is not some fairy godmother nor are there summery uplands to escape to. The grit sticks to sweat and blood spills and stains. The presence that haunts the locale of the Burn Estate and the minds of some of its troubled inhabitants is both weird and wyrd.

We first encounter the presence through the paintings and memories recalled of a teenage girl Una Cruickshank who lived in Loom Street on the estate in the 1950s. Coming from a difficult home, Una found some escape and expression in art. Continuing into adulthood, she became known for her paintings of misty riverbanks, lonely and quiet yet in some pictures vague figures may be present. In one picture entitled The Green Girl, this figure is perhaps more manifest. This strange female was not the invention of Una. she was known to the grandmother of Jean Barr, Una’s friend, and to many before her, yet is was an entity that Una became obsessed with as she talked to her … and not her alone.

The mysterious creature in question is known to folklorists and folk horror fans as Peg Powler. An entity I know personally from lore local to me for she is the spirit of the River Tees, one of the rivers that runs through my home county. Like Jenny Greenteeth and the Grindylow of Lancashire and Yorkshire (as well as Nanny Powler of the Skerne, a tributary of the Tees in the Darlington area), Powler is a water witch (known as Groac’h by the Breton people) – a green-skinned, pond-weed strewn hag who lures children to the edge of the river, then grabs their ankles and pulls them in to a watery demise. The disappearance of young girls is a thread that winds through the book- another haunting aspect of the novel’s locale. In Ironopolis though, Peg Powler does not exist simply in relation to the leafy green banks that nestle the Tees in its winding from hill to sea but also within a large pipe leading to the sewers beneath the housing estate and she dwells even below one of the toilets in an old folks’ home. She also at times lurksv at the bottom of a well situated on the derelict waterworks near the Burn estate. The waterworks are an urban wasteland, an edge-land where kids go to play (on one instance resulting in a bullying prank gone horribly wrong), where teenage Una used to go with men and where decades later an illegal acid house rave which did not proceed as well as hoped was held.

As the stories unfold, we meet a host of characters – Vincent, a garage owner and local gangster who has more going on in the work-pits of his motor shop than automobile repairs, his awkward, nervous son, a hairdresser with a gambling problem and her disfigured brother who falls under suspicion of being the child abductor. We meet a man who lives in a shed, another who lives in the past (a Footy Casual who obsesses over rare Adidas trainers) and an elderly Teddy Boy who used to drive a mobile library van. These details also bring the book into a phase of nostalgia, which links it to Generation X hauntology, but Ironopolis is so much more. It is kitchen-sink and gritty crime and at times is darkly humorous (the scene with the birds of prey in the retirement home had me laughing out loud). And at times it is a horror story of sorts, though the brutality of it is in human actions, the strange Great Darkness of 1968 features – a real-life event, whereby weather conditions combined with the petrochemical and industrial emissions of Teesside resulting in midnight gloomth falling at midday in combination with wild storms. (The chemical industrial landscape of Teesside, whilst producing some unsavoury pongs and earning the locals the nickname -Smoggies, has also provided inspiration for the cinematic luminaries David Lynch and Ridley Scott.)
And of course there is the subtle yet unsettling presence of Powler, like a whispering manipulative genius loci lingering under each turn of the page adding another element to the work that helps this excellent debut novel get under your skin.

Ironopolis is a well crafted novel that deserves to be far more widely known. Highly recommended to folks who like their ‘urban wyrd’ fix of a flavour akin to films like Dead Man’s Shoes and Kill List. I look forward to reading more from the pen of Glen James Brown.

https://i2-prod.gazettelive.co.uk/incoming/article4806237.ece/ALTERNATES/s615/stormmain.jpg
The Teesside Dark Day: July 2nd 1968
https://i2-prod.gazettelive.co.uk/incoming/article3639757.ece/ALTERNATES/s615b/E2C457BE-EAF4-A23A-29870E774E7C6DD5.jpg

Reviewed by Andy Paciorek

https://nbmagazine.co.uk/wp-content/uploads/sites/2/2019/02/71vZPsvsAwL-648x675.jpg


The Repeater Book of the Occult: Book Review

https://i0.wp.com/pagesofhackney.co.uk/webshop/wp-content/uploads/2021/01/71cFmVbBWLL.jpg?fit=528%2C800&ssl=1

For a clearer picture of this book you need to look at the subtitle ‘ Tales From The Darkside’ as it may be presumed from the main title and the the pentagram design on cover that the book may be a history of discourse on the occult traditions of witchcraft, ‘alternative religion’ and ceremonial magic. This is not the case as the book is in fact an anthology of classic and lesser known short tales of the supernatural and psychological.
It takes the term ‘Occult’ in the wider sense of being hidden or secret; of being occluded.
In the more common usage of the term to denote dark magic, only a few of the stories peripherally allude to this and I wonder whether the name ‘The Repeater Book of the Uncanny’ would have been a more apt description of the greater tone of the contents.
Nomenclature and cover aside, the book will still likely be of considerable interest to many Revivalists.

Each story is selected and prefaced by writers who have penned works for the Repeater publishing house and I found these introductions to be most interesting. It is intriguing to discover why they selected the particular stories they did and also the commentary on the lives and mindsets of those that scripted the strange tales. I also approve of each story being preceded by an illustration.

Included within the volume are two stories from the pen of Irish writer Sheridan Le Fanu ~ ‘Squire Toby’s Will’ and ‘Green Tea’.
Squire Toby’s Will concerns itself with a family feud between two brothers regarding inheritance upon the death of their father and the dark emotions and vices that arise from greed and bitterness. The other tale featured ‘Green Tea’ is the more well-known and I think stronger of the two. Its premise revolves around the popularity of Green Tea a beverage that was popular in the time of the Romantic and Gothic poets and the story’s strength is bound not to its narrative, which really doesn’t go anywhere, but its hallucinatory energy. Within the tale the drink is in part demonised as a psychotropic that causes the decline of mind of the character Jennings who drinks lakes of the stuff but in another aspect it is seen as a key to opening the mind. Jennings was also a reader of the works of mystic Emanuel Swedenborg (providing the book with one of its stronger associations to the Occult in the narrower sense) and had earmarked a passage about opening the inner eye. Alas for Jennings, the opening of his mind’s eye released madness or something perhaps worse – an actual manifestation of his shadow self. A malevolent alter-ego that appeared in the guise of a grimacing, muttering monkey. Now this may sound absurd, but consider if you were haunted by such a beast, disturbing your peace and even urging you to commit suicide!
I wonder personally whether Le Fanu should have only had one story within the compendium as with the other featured authors, and another writer to have been featured in place, but as the book revolves upon the choice of Revolver writers in selecting stories that spoke strongly to them, then it is understandable how one storyteller could feature more.

In keeping with simians and also another story with a stronger occult theme, the classic WW Jacobs’ tale The Monkey’s Paw also features in the compendium. As is the case with the author Carl Neville who selected it, this is a story that has been with me since childhood. Basically it is a moral of being careful what you wish for. A family come into the possession of a taxidermy piece – a preserved monkey’s paw that can bring desires into fruition. Sounds like a blessing but the mitt reveals itself to be more of a curse. It is a simple tale but in its telling of what lurks beyond the door of grieving is a powerful piece of horror writing.

A short segment of contemplation by the author Mary Shelley ‘On Ghosts’ is short but sweet and had space permitted I would have been interested to read more writers’ musings on supernatural matters and delivering anecdotes of creepy tales they’d heard.

Virginia Woolf’s ‘A Haunted House’ is another brief inclusion that also serves to make the book something a bit different. It is more a reverie, a daydream, a description of sensations of being in a house that may be haunted – more perhaps a prose poem than a short story as such, but it continues a mood whilst also acting perhaps as an interlude in the book.

‘The Yellow Wallpaper’ by Charlotte Perkins Gilman is one of the more well known stories in the book, but deserves to be known more widely still both in horror literature and other circles of discussion. Brave and ahead of its time (when I first read it as a teenager, I thought it had been written well into the 20th Century, rather than in 1892 and actually still upon reading it as the images play out like a film in my mind, I visualise it not in Victorian fashions but those of a later date). This is certainly due to both its timeless quality, its courageous questioning of womanhood and postnatal depression in that patriarchal era and the spectre of ‘hysteria’ that cast like a shadow over women of the period. The horror in it is not explicit – we are not told this is a definitely demon,a ghost, a vampire doppleganger or whatever but left to consider that it may very well be an inner demon manifest as a woman virtually imprisoned in her room obsesses over the yellow wallpaper in there and begins to see it take on a life of its own. Either way its build-up of dread and strangeness as the tale progresses marks it as horror as well as being an important piece of literature in other ways.

A more obscure gem in the book is Marlene Dotard’s ‘Par Avion’ from 1928. Taking as its premise the spirit communication between a living lover and one who has passed over. It does however introduce the unsettling suggestion of how malady – a virus is transmitted from the world of the dead into our world by mediumship and spreads through time. Interspersed within passages of the tale are shots of lyrical description blending scientific processes with an almost feverish mystical beauty.

A more well-known author Mark Twain, broaches contagion also in his tale Punch, Brothers, Punch’, befitting this Covid age. It is a peculiar witty story, that preceded the book and film ‘Pontypool’ by many decades, and though a beast of different tone deals in the same territory of language of words becoming viral. Tristam Adams’ introduction to his choice of tale, also struck a chord with me beginning as he does with talk of INMI (Involuntary Musical Imagery) – i.e. Ear-Worms! Because at the time of reading and for too many days surrounding I for some unfathomable reason was dealing with the song ‘Twelve Thirty (Young Girls are Coming to the Canyon)’ on a constant loop in my head. It’s a good song but damn, it got a bit much! He also speaks of another subject close to my heart (hopefully not literally) – Parasites! When working for The Wildlife Trusts in a past life, in doing environmental education activities when school groups visited the reserves, one of my perks of the job (which I must say the vast majority of kids seemed to enjoy) was telling them about the weirder, grislier, grosser wonders of nature. I must admit that in talking about the world of parasites my skin would crawl too, but damn (again) they are really fascinating creatures. And that is a joy of this book, the peculiar twists and turns the selecting writers take in the delivery of their story of choice.

Bizarre creepy-crawlies and the apparent dissolving of ‘reality’ into a psychotropic nightmare are again themes that reoccur in Francis Stevens Unseen -Unheard and again why I question if this work should perhaps have been called The Repeater Book of the Uncanny, as many of the stories seem to dwell in the moments where something happens or something encountered is not quite right and then becomes increasingly wrong.

Edgar Allan Poe’s The Black Cat is more familiar territory though for readers of horror short fiction. The classic tale of whereby a man’s cruelty and callous arrogance come back to bite him or rather in this case incriminate him for woeful wrongdoings.

The book ends with the brooding novella The Willows by Algernon Blackwood. This tale of being at the mercy of nature is apt in these days of Climate Change and is an eerie, atmospheric classic of folk horror / weird fiction in its own time and own right. The author Algernon Blackwood was himself a scholar of Rosicrucianism and a member of the Hermetic Order of the Golden Dawn, and I wonder whether perhaps a chance was missed here as other authors of supernatural material such as Arthur Machen, WB Yeats (who wrote extensively on folklore as well as being a great poet) and even E. Nesbit were members also of The Golden Dawn. As was notoriously for a while Aleister Crowley – though certainly not the best writer (and definitely not the best poet) he did pen some short fiction and his life is certainly an interesting topic, regardless of whether your opinions on his character or literary ability are foul or fair. Perhaps should an extended edition ever come about more tales by writers actively involved in the occult in their own lives could be a factor.

As it stands, The Repeater Book of the Occult: Tales From the Darkside is a solid enough anthology of short horror, that combines some well-known classics of the tradition with some unfamiliar and offbeat fare and is enriched further by each tale being preceded by diverse and intriguing introductions and also by illustrations.

Publisher : Repeater Books; New edition (9 Feb. 2021)
Language : English
Hardcover : 350 pages
ISBN-10 : 1913462072
ISBN-13 : 978-1913462079

https://repeaterbooks.com/product/the-repeater-book-of-the-occult-tales-from-the-darkside/

https://i0.wp.com/pagesofhackney.co.uk/webshop/wp-content/uploads/2021/01/71cFmVbBWLL.jpg?fit=528%2C800&ssl=1

Reviewed by Andy Paciorek

The Frighteners by Peter Laws: Book Review

https://ryedalebookfestival.com/wp-content/uploads/2018/08/Peter_Laws_Cover.jpg

I was only a couple of pages in by the time this book had me hooked. From the offset Peter Laws’ investigation into why people, like himself, are fascinated, drawn to and maybe a little obsessed by horror and other spooky or grisly weird stuff, resonated with me. I too am one of those morbid kids grown up and not grown out of morbidity. Unlike Peter Laws however, I am not a Christian church minister!! 
Laws’ day job is accompanied by a night shift that sees him writing reviews of horror films for Fortean Times magazine and penning dark fiction. Some may consider Laws’ dual paths as being incongruous but as he points out Christianity is full to the brim with supernatural elements; there are numerous grim and violent stories in the bible and The Exorcist is actually a very Christian film (and indeed was instrumental to Laws finding his vocation as ‘the sinister Minister’.
My own childhood attending a Catholic school governed sternly by nuns already had me convinced that horror and Christianity may not always be miles apart by any means!    

https://splattergeist.files.wordpress.com/2018/07/81eq4raddl.jpg

But what is the fascination of horror? Why does it draw some people in? Why do some people enjoy being frightened? Is it wrong or harmful to like freaky, frightening stuff? These are questions that Laws seeks answers to in some very strange places. Within the pages of this captivating book we join him in scenarios and company as peculiarly diverse as a haunted hotel in Hull, alongside howling dogs in Transylvania, in a shop in York that has amongst its various gee-gaws and oddities a curl of hair clipped from the head of Charles Manson and trapped in the toilet of a decommissioned war bunker whilst a Zombie in a wheelchair batters at the door. 

https://folkhorrorrevival.files.wordpress.com/2020/11/c5226-frighteners.jpg

The Frighteners is an intriguing book and whilst it does ask some serious questions and looks at some heavy elements such as Murderabilia (the collecting of serial killer and violent crime associated ephemera) and the matter of violence, death and dying generally, it is also a very funny book. Some of Laws’ wit is gallows humour – it has to be considering the subject matter, but it is never cruel and it gives the book a friendly glow and familiarity.  Even in the cold Capuchin crypts beneath Rome among the remains of scores of dead monks, their death presented vividly for all visitors to see, the warmth of Laws’ company is ever present. He is a perfect guide for voyages of the macabre as he does not shirk away from or sugar-coat the grisly, the violent, the tragic and the horrific. He braves the questions that some may want to ask but don’t dare and he doesn’t run from contemplation of the answers. But throughout he maintains a friendly, funny, engaging and affable manner. Humour in grim circumstances can be a good coping mechanism for dealing with things or situations that may disturb us as can confrontation of our fears. An interesting topic that arises is the observance of children that have experienced trauma playing with their toys in a manner that some may find disturbing or drawing gruesome pictures, but that in fact it may be a healthy way for them to deal and process the intense disturbance to their life. And not just kids, the book ponders what is a harmless interest and what is an unhealthy obsession. A fondness for horror can be healthy, the fantasy a safe, harmless escape and channelling of inner troubles and an invigorating thrill. Rather than break societal boundaries it can strengthen them. But there are times when people have questioned whether exposure to Horror fiction such as with the moral panics that have arisen around spooky comics, ‘video nasties’ and violent computer-game could or have indeed resulted in real-life grisly crimes. 
The answers to such a question are complex, but it is a certainty that very many of us like scary or gory things but thankfully the vast majority of us don’t go onto mass murder or other atrocious crimes and certainly not everybody who does these things are horror fans as such.
Rather than nail down solid final answers for why some people are the way they are, this book is a highly enjoyable and very interesting adventure into the dark-side. It is a book that I found myself reading excerpts from to my girlfriend (another aficionado of the frightful) which led to some interesting conversations.

The Frighteners is available Here and from other book shops and online stores

For more information about Peter Laws creative projects visit ~

https://www.peterlaws.co.uk/

Review by Andy Paciorek

Photograph of Peter Laws The Sinister Minister