Yule is coming. Folk Horror Revival official books and merchandise

indexAt FHR HQ we don’t like Christmas creeping into November either, but with time for postal delivery to be considered, here for your consideration are some alternative Xmas goodies available to buy for your boofriend or ghoulfriend or to spend your Chrimbo cash on.

Books –

Wyrd Harvest Press the publishing arm of Folk Horror Revival has over a dozen titles available featuring contributions by talents such as Susan Cooper, Ronald Hutton, Shirley Collins, Robin Hardy, Philip Pullman, Kim Newman, Reece Shearsmith and many more

– visit here for more details

All sales profits from Wyrd Harvest Press / Folk Horror Revival after manufacturing and distribution costs are donated seasonally to The Wildlife Trusts.

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Classic white on black Folk Horror Revival t-shirt from Hare & Tabor

£15 + Shipping

https://www.hareandtabor.co.uk/store/p78/Folk_Horror_Revival.html

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There are some sizes left of different FHR limited edition shirts and some Tote bags  – Message Kt on  Facebook or email Kt at folkhorrorrevival@gmail.com  for details

T-shirts  –

~Silver on Antique Cherry Red ~ Rose Gold on Forest Green ~ Silver on Blackberry ~ Witch  Cults – Fire colours on Black~

£10 + £6.00 shipping UK
$12.98 for the shirt, $7.71 for 5-7 working days delivery or $13.31 tracked and signed for 5-7 working days delivery. USA

Tote bags – £6 + £4 shipping UK.

made by Tyrant Design & Print

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Also Available ~  Folk Horror Revival drinking vessels from Midnight Mugs

To purchase these fine cups ~
Contact Steve via the Midnight Mugs Facebook Group

or email at stevie7771@hotmail.co.uk

or buy direct from E-bay by clicking on image of selected mug style below.

£8 each + postage & packaging per item for White mugs.

£9 each + postage & packaging per item for Black mugs.

Postage and Packaging –  £4.00 for up to 4 mugs in UK.
Check with Steve for overseas and quantity shipping costs.

Click on image to select mug style on Ebay –

classic white

classic black

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FHR AF

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In addition to this sartorial wonder, you can find a veritable cornucopia of gifts and other needful things on our Redbubble page. They come in white on black or, surprisingly, black on white.

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Note: Folk Horror Revival is non-profit. After manufacturing and distribution costs all sales profits from T-shirts, tote bags, mugs and Redbubble items go towards funding Folk Horror Revival events and projects.
All sales profits from books after manufacture and distribution costs are donated to charity at seasonal intervals.

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The Human Chimaera: A Sideshow Oddysey

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A number of years ago, I ran away with the Show Folk. Literally I did, getting a taster initially in North Wales I then joined a traveling carnival as it traversed across Asia. It was a strange time that influenced and inspired a fair portion of my later art and writing. But it was not the first time my mind turned to dark carnivalia. I never liked rollercoasters or other rides, never found clowns funny (or frightening) but something about circuses and carnivals especially the sideshows enchanted me.

When I was very young, I received as a present the book Horrors: A History of Horror Movies by Tom Hutchinson and Roy Pickard. Along with Monsters and Vampires by Alan Frank and Usborne’s Mysteries of the Unknown: Monsters, Ghosts and UFOs these books were my childhood bibles. On page 111 of Horrors though was a photograph that beguiled me. It was a still from Tod Browning’s 1932 classic movie Freaks. Upon reading underneath it, I was informed that the people in the photograph looked in reality as they appeared. I then visited a sideshow tent at I cannot remember where on some childhood daytrip, but although for the money only saw some photographs, some flea-bitten anomalous taxidermy and a few indistinct things floating in dirty jam-jars, I felt a weird sense of homecoming or something.. Upon getting my first ever book token as a gift I then purchased The World’s Most Fantastic Freaks by Mike Parker.My curiosity was stirred further but so also was my compassion – these were not monsters but people, intriguing exceptional people.

In years to come I read more books, watched documentaries and movies that featured real life people with teratological features or other profound physical differences. Films such as the afore-mentioned Freaks, but also The Mutations, The Sentinel, Chained For Life, The Other, even the Time Bandits. No matter how brief the appearance was, it intrigued me. Some of the films and books displayed compassion whilst others were perhaps more exploitative. Freaks and geeks captivated me. One night in a student bar, The Enigma, a man tattooed head to foot like a jigsaw puzzle, who was a former member of The Jim Rose Circus Sideshow whom I’d seen perform at a theatre the night before and who also starred in the X Files carnivalia episode Humbug,  asked whether he could sit at our table. I was thrilled at that happen-chance

Later in life after my own days on the midway and having viewed the great Channel 4 tv show Cast Offs and the amazing HBO serial Carnivale, my mind turned again to something I had mulled over for years – writing and illustrating my own book about these very special people. With the encouragement of actor Mat Fraser, author Karl Shuker, artist Madame Talbot and John Robinson the ringleader of Sideshow World, all my years of admittedly voyeuristic curiosity took form in the pages of The Human Chimaera: Sideshow Prodigies and Other Exceptional People. It to date was my most difficult book to create, I wanted to show empathy and compassion but no condescension in my words, yet I wanted to render their portrait with regard to the fantastic nature of their stage names or curious features of their lives. In my own, apparently ‘dark’ style I wanted to pay tribute to the sideshow banners that intrigue and captivate but yet stay true to the subjects’ actual likenesses. I think / hope I got the balance right.

~ Andy Paciorek

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Image may contain: 2 peopleContaining over 100 original pen & ink portraits alongside biographic text, The Human Chimaera is an indispensable guide to the greatest stars of the circus sideshows and dime museums.
Includes a foreword by John Robinson of Sideshow World.

Available now in a choice of three cover formats from ~ http://www.blurb.co.uk/b/5567832-the-human-chimaera

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Folklore Thursday: Earth Movers – The Foawr

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Foawr Also known as: Stone-Throwing Giants, Fooar.
Upheavals in and on the earth that led to the creation of many immense and intriguing land formations and features were often accredited to the actions of Giants.
Many Giants in Britain and Ireland displayed a propensity for throwing stones, yet the Manx Foawr were absolutely notorious for heaving boulders around. They would throw rocks at humans, at ships, at each other and they would throw rocks just for the sake of throwing rocks. It seems however that the males of the species were more inclined towards trouble-making and stone-lobbing than the females. The masculine Foawr were despised by human farmers, not only for their rock-hurling but also for their other habit of ravishing cattle. It has been considered that the Foawr may be of the same lineage as the Celtic demonic race the Fomorii and some at least were said to be the children of the haggard storm-goddess, the Cailleach Bheur.

Text and image © Andy Paciorek
abridged and amended from the book
Strange Lands: A Field Guide to the Celtic Otherworld
View Strange Lands by Andrew L. Paciorek

Phantasms of the Floating World: Tales of Ghostly Japan

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‘Frolic in Brine: Goblins Be Thine.’

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The 1964 movie Kwaidan (Ghost Stories), directed by Masaki Kobayashi, as well as being a beautiful and atmospheric piece of cinema, is curious in the sense that it is a Japanese movie based on an English book of short stories translating Japanese folk tales. The translator of these tales was Lafcadio Hearn, a man of travel and words.

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Born of Irish and Greek parentage in the Ionian Islands in 1850, Hearn grew up in Ireland under the care of his great-aunt following the tumultuous breakup of his parent’s marriage. The re-stationing of his surgeon-major father to Suez (where he died of malaria) and the internment of his mother in an insane asylum in Corfu meant that young Lafcadio never really knew his parents. His great-aunt, however, was intent that the child should have good schooling and also learning from an interesting life. So time was spent between her Irish home and another residence in Wales. His great-aunt was a devout Catholic and keen that Lafcadio’s education led him on a theological path, yet tales of mythology inspired the boy more than the Bible. He was enrolled at a Catholic state school in France and then at the Catholic College at Ushaw in County Durham, England. It was there that Hearn suffered an eye injury in a sporting accident. Partially blinded and mildly disfigured, Hearn became very self-conscious of his eye and preferred to be photographed in profile so that it could not be seen.

Via London, Hearn moved to the USA and became a journalist in Cincinatti, concentrating mainly on murder reports but also whenever possible outlining the plight of the poor. In 1874 Hearn married Alethea Foley, a young woman of African-American descent. This was not only contrary to much of the racial attitudes commonly held at the time but also shamefully illegal at the time. So the marriage was cited as the reason for his dismissal from the newspaper, but it has been suggested that they were irked by Hearn’s tone on matters regarding social and religious issues (he had grown estranged from his Catholic education). He did find work with another press, but his marriage lasted only three years.

Hearn then moved to New Orleans, where he lived and worked as a journalist for several years. It is at this time that his mind turned again to nuances of culture and folklore and as such created several books on Creole culture and cuisine. Following that, he lived in the West Indies, writing a book there about the life of a slave.

In 1890 he moved to Japan, a place that more than any other sealed his place in literary history. Working there as a teacher, Japan carved a place deep in his heart. He converted to Buddhism, became known locally as Koizumi Yakumo and married Koizumi Setsu, the daughter of a Samurai family, who in turn bore him four children. Furthermore, he wrote numerous books on Japanese culture and folklore, including Glimpses of Unfamiliar Japan (1894), Japanese Fairy Tales (1898), In Ghostly Japan (1899), Shadowings (1900) and, most famously, Kwaidan: Stories and Studies of Strange Things (1903). Lafcadio Hearn died aged 54 of heart failure and was buried in Tokyo in 1904; his legacy lives on, however, with his writings, because through his work old tales of ghostly Japan were brought to the West. Through the media of film, Japanese Horror would continue to weave a strange web.

Notably, the 1964 movie Kwaidan bears the strongest association to Hearn. The movie is divided into four parts: ‘The Woman of the Snow’ and ‘Hoichi the Earless’ are both featured in the book Kwaidan: Stories and Strange Things (a beautiful and peculiar collection that diverts from folklore into studies of insects for its final part), but the other cinematic episodes of Kwaidan, ‘The Black Hair’ and ‘In a Cup of Tea’ are taken from Hearn’s Shadowings and Kottō: Being Japanese Curios, With Sundry Cobwebs (1902), respectively.

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‘The Woman of the Snow’ tells the folk tale of a father and son who take refuge from a wild winter storm only to be visited in the night by Yuki-onna, a beautiful but deadly female personification of winter. In ‘Hoichi the Earless’, a blind musician is called before a strange court to play ballads of ancient sea battles. It is feared, however, that his audience may be more than they seem, and in order to protect himself from any maleficence they may cast towards him, he is tattooed head to foot with a protective Buddhist sutra. ‘The Black Hair’ relates the tale of a swordsman who abandons his wife in favour of another but returns home years later to find his first wife forgiving and welcoming of him, or so he thinks. The final tale in the film, ‘In a Cup of Tea’, is the strange story of a writer who keeps seeing faces in, as the title reveals, a cup of tea.

Kwaidan was not the only movie to share the ghost tales (kaidan) of the Heian, Edo and Meiji periods of Japanese history. Historical horrors of Japan have a visual heritage in the Hell Scrolls of the Heian period (8th to 12th century) and in the more phantasmagorical examples of Ukiyo-e (‘pictures of the floating world’), the vibrant woodblock prints and paintings of the 17th to 19th centuries. Ghost stories would feature in illustrated books called kusazoshi (‘grass tales’). Masters such as Utagawa Hiroshige, Katsushika Hokusai, Utagawa Kunisada and Tsukioka Yoshitoshi all created works of a spectral narrative, but perhaps the grand master of floating world horror was the visionary artist Utagawa Kuniyoshi, whose oeuvre was as prolific as it was fantastic.

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In film, such horrors of the Japanese landscape and imagination were also presented in movies such as Kenzi Mizoguchi’s 1954 classic Ugetsu Monogatari (Tales of Moonlight and Rain), based on Ueda Akinari’s 1776 book collection of folk tales of the same name, and Kaneto Shindo’s Onibaba (1964) and Kuroneko (1968). Onibaba (Demon Hag) is a strange and sinister folk horror tale of two women (one old and the other young) who live in a remote hut during the 14th century civil war and eke out an existence by stealing the possessions of dead and dying soldiers. If it is their own actions that cause the soldier to be in such a state, then so be it. However, the lives of the women are thrown into turmoil when a samurai wearing a hannya (demon mask) appears in a local swamp.

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Shindo’s later film Yabu no Naka no Kuroneko (A Black Cat in a Bamboo Grove)—often shortened to Kuroneko—is a tale of revenge as two women who are raped and killed by samurai return to claim vengeance. Mizoguchi’s and Shindo’s movies are beautifully shot as well as being creepily atmospheric historical dramas.

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Perhaps lesser known but certainly worthy of a wider audience is Masahiro Sinoda’s 1975 Sakura no Mori no Mankai no Shita (Under the Blossoming Cherry Trees). This bizarre movie is based on a short story by Ango Sakaguchi. It is not an ancient folk tale but certainly has the feeling of such, as it is a rural murder ballad of a mountain man who rids himself of numerous wives but becomes besotted and slave to the demands of his eighth wife, who may be even more bloodthirsty than he.

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Also popular in this Japanese subgenre of historical folk horror are various cinematic adaptations of Yotsuya Kaidan, a kabuki play written in 1825 by Tsuruya Nanboku IV. Although there are variations on the tale as seen through the eyes of different directors, the basic storyline relates to a young woman, Oiwa, whose husband, Iemon, is coveted by another woman, Oume. Oume sends Oiwa a face cream that is actually a poison, causing her to become disfigured. Horrified by his wife’s appearance, the shallow Iemon arranges for his wife to be raped, so that he can claim a divorce on the grounds of her ‘unfaithfulness’. The would-be rapist, however, takes pity on her and does not rape her. However, he alerts Oiwa to her facial deformity, of which she has been unaware. In her hysteria Oiwa accidentally kills herself with a sword. The death, therefore, gives Iemon opportunity to marry Oume. But just because Oiwa is dead is no reason to assume that she will let the marriage continue peacefully. Movies based on this tale include Nobuo Nakagawa’s 1959 Tôkaidô Yotsuya Kaidan (The Ghost of Yotsuya) and Tai Kato’s 1961 Kaidan Oiwa no Borei (Ghost Story of Oiwa’s Spirit).

Although eclipsed often by Japan’s kaiju eiga (‘monster films’, a popular science fiction / horror sub-genre that has continued from the 1930s to recent years, many of which feature daikaiju—giant abominations such as Godzilla, Mothra and King Ghidora), demons and ghosts have never wandered too far from Japanese expressions of the imagination. In Japanese mythology and folklore yōkai are entities whose general name comes from the words for ‘weird’ and ‘otherworldly’. There are, however, many strange and wonderful forms of yōkai that range from ghosts of the dead to devils and include such peculiar abominations as the flesh-eating kappas who are turtle-like humanoids that live in lakes and have a hollow basin on the crowns of their heads; tanuki, which are racoon-dogs with colossal testicles; karakasa, which are sentient old parasols; and tengu, which are bird-headed goblin men. Oni are demons that often try to seize the souls of dying people or corrupt them during their lives. They can vary quite considerably in appearance and have been depicted in various forms in manga and anime, the popular Japanese comic books and animations, as well as in Saiyūki, a great television series of the late 1970s based on the 16th-century Chinese novel, A Journey to the West by Wu Cheng’en. Saiyūki is much better known in the West by the name of its main character, Monkey.

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Of all the yōkai, perhaps it is the yurei who have had the longest-lasting influence on Japanese horror both at home and abroad. yurei are the ghosts of people who have died a sudden violent death or in a state of considerable negative emotion such as hatred, sorrow or a lust for revenge or who have been denied proper funerary rites, thus binding them to this world, or at least until the cause of their haunting is properly negated. There are numerous types of yurei, such as zakishi-warashi, which are the mischievous ghosts of children; funayurei, which are the souls of those who died out at sea; and jikininki, which are ghosts that feed on the corpses of the recently deceased. Of all the yurei, it is the onryō, the vengeful ghosts, which are most familiar to fans of horror films—and not only Japanese horror films, as some of the films have been remade by Hollywood.

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Onryō walk the Earth to seek retribution for wrongs that were committed to them in life, and in cinema at least their hunger for revenge may be so strong that it is inflicted upon anyone unlucky enough to be in the wrong place at the wrong time, rather than just the person or persons directly responsible for causing them suffering. However, the dynamic of the storytelling is changed from the spirit being a sorrowful victim lashing out in emotional pain from beyond the grave to an indiscriminate monster if being revived for the sake of sequels. There is a tradition of describing onryō as predominantly female, dressed in a white kimono or robe (the colour of the dead), long black hanging hair (in old Japanese tradition, women would wear their pinned up, but it would be loosened following death) and generally floating above the ground or at least having their feet unseen.

Oiwa was an onryō, a particularly recognisable one due to her disfigured eye, as was the wife of the swordsman in ‘The Black Hair’ and the two women of Kuroneko. Though Yukki-onna fits the physical description of an onryō, the story of her earthly demise is not known though some consider that she is the spirit of one who died in the snow. Other theories place her more as an embodiment of wild winter or possibly a snow goddess.

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The cinematic representation of Yuki-onna certainly draws some comparison to the onryō that were to follow. Of these in recent times none have had a greater impact than Sadako Yamamura. Sadako first appeared in Ringu, the first book of Koji Suzuki’s Ringu trilogy and in the subsequent 1995 television adaptation and the more famous 1998 cinematic film directed by Hideo Nakata.

Unlike the onryō films of previous generations, Ringu is set in contemporary times and has the subplot of a curse that is spread like a virus with the watching of a mysterious videotape. Following viewing the tape, the victim has seven days to live unless they copy the tape and show it to someone else, thus transferring the curse. It is discovered that the curse originated with the death of a well-known psychic, Shizuko, who committed suicide after a claim that she had faked her powers. It becomes evident that her daughter Sadako has no need for fraudulence and is feared and loathed by her father. However, in seeking a cure for the curse, it is discovered that Sadako vanished whilst still little more than a child.

An excellent creepy character of horror fiction, Sadako (like Count Dracula and Frankenstein’s Monster before her) has alas been watered down by numerous sequels, American remakes (Sadako now renamed Samara Morgan—Samara actually being a nice name for its similarity to samsara, a word used in Buddhism and other Eastern religions in reference to the cycles of death and rebirth and sometimes used to indicate earthly suffering, although I don’t know whether the similarity is intentional or not) and a large host of other onryō movies to follow in its wake such as Ju-on: the Grudge and Muoi: The Legend of a Portrait. Some of these other onryō films are not bad, but few come close to the cold eeriness of Ringu, which resurrected the Japanese horror film industry for a new generation.

Other films utilising the vengeful ghost theme created not only in Japan but also in other Asian countries such as South Korea and Thailand as well as American remakes of Asian horrors vary in quality. That is not to say onryō films are the only recent examples of a Japanese resurgence in horror, for there are diverse examples of tales of terror that shine brightly from the Land of the Rising Sun. These include the cyberpunk body-horror Tetsuo (Tetsuo: The Iron Man, 1989); Odishon (Audition, 1999), a powerful, unsettling tale of a man seeking a new wife; the pre-Hunger Games story of schoolchildren pitched against each other and forced to become merciless killers, Batoru Rowaiaru (Battle Royale, 2000); the surreal horror Uzamaki (Spiral, 2000); and Imprint (2006), an episode of the television anthology series Masters of Horror in whch a search for a missing young woman turns into a grotesque nightmare. However, it is probably through the modern revisiting of the past folk tale theme of vengeful ghosts explored in Ringu, that horror again was given was given a new lease of life in ghostly Japan.

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Essay by Andy Paciorek.
From the book
Folk Horror Revival: Field Studies (second edition)
Available now from – http://www.lulu.com/spotlight/andypaciorek

Sources.
Specters, Ghosts and Sorcerors in Ukiyo-e

Ukiyo-e Ota Memorial Museum of Art 

The Toho Studios Story: A History and Complete Filmography

By Stuart Galbraith IV. Scarecrow Press, 2008

Ghosts and the Japanese: Cultural Experiences in Japanese Death Legends

By Michiko Iwasaka & Barre Toelken. Utah State University Press, 1994

Wandering Ghost: The Odyssey of Lafcadio Hearn

By Jonathan Cott. Kodansha International, 1992

Lafcadio Hearn and the Vision of Japan

by Carl Dawson. Johns Hopkins University Press, 1992

Horror!: 301 Films to See Before a Zombie Sucks Out Your Eyeballs!

By Marriott James & Kim Newman. Carlton Books, 2010

#Folklore Thursday: Folk Magic – Horse Whisperers

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Horse-Whisperers were far more common in the times when horses were more widely utilised for transportation, agriculture and industry. Some horses more than others are loath to be ridden and strongly resist being tamed. It is in these circumstances that Horse-Whisperers would come into their own. They were so named because they were believed able to calm and train wild horses by whispering into their ears (the Horseman’s Word). There have been suggestions that concoctions of certain aromatic herbs may have also been utilised in the soothing of equine temper and nervousness. Whatever their true methods, it could not be disputed that the Horse-Whisperers generally had an excellent and impressive record of breaking beasts. Onlookers and clients would often conclude that supernatural powers were afoot, a supposition that Horse Whisperers did little to dispel and may even have encouraged. Not just anyone could become a Horse-Whisperer however, for they guarded their prowess with the utmost secrecy. Elaborate Masonic-style initiation was the only way into the ranks in Scotland, and women were never made privy to the Horseman’s Word. Rumours spread that the introductory rites and the deliverance of knowledge involved the presence of the Devil himself. The form of Horse-Whisperers known as Toad-Men heightened this sinister notion further. Their name was derived from their habit of carrying the skeleton of a Toad around in a pouch, apparently as a magical device.

Image and text. © Andy Paciorek. Adapted from the book Strange Lands: A Field Guide to the Celtic Otherworld

View Strange Lands by Andrew L. Paciorek

The Dark Masters Trilogy, A Review

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The Dark Masters Trilogy comprise of a trio of novellas from acclaimed horror writer Stephen Volk, a member of the select group of Welsh writers alongside Arthur Machen, whose work is held in the highest esteem within horror circles. Volk is most famous for his scriptwriting work on Ken Russell’s Gothic, and above all else the BBC drama Ghostwatch.

The Dark Masters Trilogy brings together three novellas, Whitstable, Leytonstone and Netherwood as a trio of dark tales of fiction constructed around a quartet of celebrated horror and occult figures from the 20th Century’s cultural past. Hammer legend Peter Cushing takes the lead role in Whitstable, a juvenile Alfred Hitchcock in Leytonstone and we get a twofer in Netherwood with both horror novelist Dennis Wheatley and Occultist Aleister Crowley squaring up to one another.

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Whitstable is up first. This is a story about the darker side of the 1970s that takes place in Peter Cushing’s beloved Whitstable in the period directly after the death of his much cherished wife, Helen. The story itself features some wonderfully written characters, and an interesting and well developed plot, however the real genius here is Volk’s touching portrayal of Cushing at this most difficult time in his life. The whole novella revolves around his incredible portrait of the horror legend as a broken man, the loss of his soul mate had rendered him a physical and mental wreck until a chance encounter with a young boy who mistakes him for the character he portrays on screen, the vampire hunter Dr Van Helsing. This leads to Cushing undertaking the role of investigator, delving into a crime that has been committed against the young boy, and saving himself at the same time.

Leytonstone is a story based on the childhood of Alfred Hitchcock that examines the roots of his fascination with crime and punishment, the two factors that form the basis for much of his cinematic output. The story begins with the young Hitchcock incarcerated in a police cell for a crime he did not commit. His Father had him locked up for a night to teach him a lesson. This inspires the young Fred as he was known to further investigate these ideas of crime and punishment with severe repercussions for those involved.  Once again this is beautifully written, Volk once again highlighting his incredible turn of phrase and attention to detail, as well as his incredible knack for writing wholly believable characters. Despite much of this story being fictional you feel as though you are delving into the mind of the real Hitchcock, such is Stephen Volk’s incredible talent for writing character.

Netherwood is the final entry in the trilogy. Volk imagines a meeting between two of the most important figures in the Twentieth Century occult world, Dennis Wheatley and Aleister Crowley. Once again Stephen Volk has created a truly believable work of fiction by rooting it in facts. An aging Crowley requests the presence of Wheatley at Netherwood, the guest house in Hastings that was to be Crowley’s last resort. A visibly sick and dying Crowley requests Wheatleys assistance to complete one one final magickal working before his death. The interplay between the two men who never actually met in real life is excellent and you really do get the sense that this is exactly how these events would have  played out had they actually happened. This is of course Stephen Volk’s greatest achievement, his characters are so well researched and developed that he almost instinctively knows how they would behave in almost any scenario. A rare commodity indeed and one that should be cherished.

The Dark Masters Trilogy is a triumph, a beautifully written volume that takes the Twentieth Century’s most infamous practitioners of horror and the dark arts and places them into new scenarios. Stephen Volk has written three fictional tales, that are so believable as to be future urban legends, such is the power of his writing, the great attention to detail, and his knowledge of the history of horror and the occult. You simply can’t imagine these stories having the same impact in anyone else’s hands. Each tale having its roots in fact provides a strong base for Volk’s writing, whether this is Cushing’s sad loss, Hitchcock’s incarceration, or Crowley’s final days at Netherwood.

As many of you will already be aware, Stephen Volk is a visionary writer in the field of horror and these novellas are a very strong addition to an already richly acclaimed career. I simply cannot recommend these tales highly enough.

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The Dark Masters Trilogy is published by PS Publishing and is available to order from their website now at the link below.

https://www.pspublishing.co.uk/the-dark-masters-trilogy–hardcover-by-stephen-volk-4696-p.asp

 

Folklore Thursday: Vasilisa the Brave

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One of the most popular characters of Russian folk characters is a heroine named Vasilisa (or Vasilissa) who appears in several Russian fairy tales collected by the folklorist Alexander Afanasyev. Known variously as Vasilisa the Wise, Vasilisa the Brave and Vasilisa the Beautiful, her virtues are held in esteem.
In a trope familiar to fairytales the world over, Vasilisa’s mother died whilst Vasilisa was still a child and her father remarries another woman who proves to be an unkindly stepmother to her. Furthermore her stepsisters were none too kindly either. When her father had reason to travel away for a while, the family moved into a cabin deep within a huge forest.
Vasilisa was given a heavy workload of chores by her new family, but she had in her possession a magic doll that was her mother’s final gift to her and which assisted her with her work. Also the stepmother would send Vasilisa out into the forest to collect sticks or mushrooms, but really in the hope that the girl would become fatally lost.
Whilst living in that remote cabin within the woods, the girls were instructed always to have a single candle kept alight from which other fires could be lit. It so happened one day that one of the elder stepsisters let the candle go out, so the young Vasilisa was ordered to gather fire from their nearest neighbour, who was none other than the witch Baba Yaga. So Vasilisa made the considerable trek beneath the darkness of trees to the macabre chicken-legged hut of Baba Yaga. On the way she is passed in turn by three horsemen. Each of which is clad in a single colour which also corresponds to their mount; first a white rider, then a red then finally a black rider whom nightfall followed soon after. Reaching the abode of the old witch, Vasilisa is petrified by the skulls on the fenceposts, whose eye-sockets burn with an eerie glow. Upon finding the girl, Baba Yaga instructs her that in order to retrieve fire Vasilisa must undertake certain tasks.
However should she fail in these chores or attempt to leave without performing them, then she was informed that she would be cooked and eaten.
The duties allocated to her were to clean Baba Yaga’s hut, to separate bad kernels of grain from the good and to separate poppy seeds from soil. Baba Yaga left the girl to her business but Vasilisa was distraught and already exhausted from her long walk through the woods. However the magic doll again assisted her in her tasks and the girl slept.
In the morning, Vasilisa looked out and saw the white rider pass by, later on the red rider passed and finally the black rider, followed both by darkness and the return of Baba Yaga. Seeing the chores beset Vasilisa completed, the witch proceeded to invoke several pairs of invisible hands to wring juice from the separated grains. She asked Vasilisa if she had any questions. The girl enquired about the horsemen and was informed that the white rider was the break of dawn, the red rider was the midday sun and the black one was the fall of night. Vasilisa was then about to enquire about the disembodied hands that worked for the old woman, but sensing this the magic doll in her apron pocket shook as if to warn her to hold her tongue. Vasilisa understood this and asked not of the mysterious hands.
Instead Baba Yaga asked How Vasilisa had managed to complete the difficult chores she had beset her. Vasilisa replied not too revealingly but not untruthfully that she had managed through her mother’s blessing.
The old witch wanted to hear of no blessing in her abode so cast Vasilisa out into the dark, but did not renege her promise and gave the girl a skull upon a stick. The fire in the dead eyes would both illuminate her path home and relight the fires within the cabin.
Upon returning there however, her stepmother and stepsisters became transfixed by the smoldering eyes of the skull and were reduced to nought but ashes. Vasilisa buried the skull.
Different tales follow the further life of Vasilisa, in one she is seen to weave threads of flax into gold or the finest silk. So impressed is the Tsar himself upon seeing the cloth, that he bids Vasilisa to meet him. Upon seeing her he is smitten with her beauty and takes her for his wife. In another variation Vasilisa is named as the girl whose kiss transformed a frog into a prince, who was then to become her husband. Whatever the tale of Vasilisa’s later life, there seems to be a common agreement that she and her father spent it in greater wealth and happiness than before.

From the book Black Earth: A Field Guide to the Slavic Otherworld. Written and Illustrated by Andy Paciorek

BABA YAGA

Samhain Greetings and Book Discount

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🎃 Happy Samhain – All Hallows – Día de Muertos – Failte na Marbh – Halloween to All Revivalists … 🎃
A little early but to mark the thinning of the veils treat your ghoulfriend or boofriend or yourself or anybody to 20% off Folk Horror Revival / Wyrd Harvest Press Books !!!

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Folklore Thursday: Samhain and the Celtic Vampires

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In Ireland, the Failte na Marbh (Festival of the Dead) was held annually on the 31st October. (also known as Samhain. All Souls and most commonly Halloween).  At this time, the dead would pay a short visit to their living relatives and, after a year in the grave, they were obviously thirsty and famished. It was then the duty of the living kin to provide them with food and drink. If sufficient victuals were not offered, the dead would then feed from the veins of the living. These creatures were known as Marbh Bheo – the Night-walking Dead. On the Scottish Isle of Skye pure vengeance was often thought to be the prime mover for the Biasd Bheulach. These Vampire-like creatures would not only spare their revenge for the specific individuals who had done them wrong in life, or had sent them to the grave, but would exact grim penance upon any living soul that fell within their grasp. In England the dead thought most likely to rise again were suicides & executed criminals, and Northumbria in particular was said to have suffered several Vampire plagues. Prevalent also in both Irish and Scottish lore were Vampires that had no discernible human heritage, and instead seemed to be of a malevolent Fay stock. Such a shadowy creature was the Irish Dearg-Due or Dearg-Diulai – the Red Bloodsucker. Frequently the Dearg-Diulai appeared as beautiful, pale females cloaked in a sanguine-red capes. Attracting warm-blooded males with their feminine charm, seduction soon turned to slaughter.

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The Baobhan Sith, or Spirit Women, are a strange breed of Scottish Vampiric entities. They most frequently manifest as small groups of beguiling women, dressed in flowing green cloaks that almost conceal the fact that their legs are of a form more befitting Deer. They may also at times take the forms of Hooded Crows. Highland tales relate how they may entrance men with their dancing before sinking their fangs into them. The Baobhan Sith display a fear of cold iron.

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The Glaistig are green-clad Fay women of fair beauty despite their lower bodies which are actually those of Goats. They are solitary creatures of converse character, for whilst they at times may greatly assist children, old people and cattle-farmers, should they chance upon lone male travellers or shepherds then their temperament changes entirely. They will first engage their victim in a seductive dance, before murdering and feasting upon them. In addition to fresh man’s blood the Glaistigs also have a taste for fresh cow’s milk.
Abridged text and amended images from Strange Lands: A Field Guide to the Celtic Otherworld – © Andy Paciorek


‘On Halloween Strange Sights Are Seen’ – About a Short film by Tea & Morphine

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On 31st October, this Halloween, ‘Tea & Morphine’ will take us on an unusually eerie walk through a small Hertfordshire allotment. In this seven minute video short the viewer is taken on a surreal journey that transforms an everyday allotment into a world of mystery and intrigue as we are introduced to the many weird and wonderfully handcrafted characters who reside among the plots there.

Along the way we encounter sinister sunflowers, pumpkin laden tables and a whole host of quirky scarecrows and oddly imagined effigies, set to the atmospherically whimsical music of The Parlour Trick, the film takes the traditionally English pastime and spins a darkly twisted tale of the unseen going’s on when the inhabitants are left alone to their own devices. With no rigid plot or narrative it is left to the viewer to imagine the storyline as the procession moves dreamily through this surreal landscape.

‘Tricksters and Threats’. Also known as: Scarecrows, Wurzels, Tatter-Men, Mommets, Bugbears ~ Tatty-Bogles cannot help but frighten, as they shamble down country roads with their arms outstretched as if crucified – yet inspiring terror may not be their prime motive, as they simply want to stretch their legs after a long day of solitude standing. The fear generated in human observers may be either amusing or regrettable to them, or it may even go unregistered. It is by their very name and nature to frighten, for they are the Scarecrows erected in fields by farmers to try and protect their crops from the hungry beaks of birds.

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The reasons for their nocturnal animation is somewhat of a mystery, for perhaps not all will rise and leave their plot, but some seem more inclined to come to life at night. Perhaps this is of their own volition or maybe there is some external enchantment at work. It could be that the magic of Witches or perhaps Fay beings animate these rag-bag effigies in order to cause mischief or perform other tasks. Otherwise a Scarecrow could provide an ideal host for a wandering spirit or Demon that possesses no true form of its own. Such strange and shapeless souls are the Brollochan. These uncanny wanderers may visibly consist of at best a mouth and pair of eyes but they can grant mobility to any inanimate object they enter. Should a Tatty-Bogle be thus possessed by a Brollochan, this would be revealed as “Thyself” and “Myself” are said to be the only words it can utter.

Extract on the folklore of scarecrows from – ‘Strange Lands ~ Supernatural Creatures of the Celtic Otherworld’ by Andrew L. Paciorek.

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http://theparlourtrick.com
Music is by The Parlour Trick; a song chosen from ‘A Blessed Unrest’ known “The Halloween album of the year” ~ Douglas Wolk (Rolling Stone, Pitchfork, TIME) Meredith Yayanos; Voice, strings, theremin, percussion & Dan Cantrell; Accordion, bass accordion, pump organ, celeste, glockenspiel, percussion.
https://theparlourtrick.bandcamp.com

‘On Halloween Strange Sights Are Seen’ is being shown Wednesday 31st October 2018 on the Tea & Morphine Facebook Page

https://www.facebook.com/teaandmorphine/
Images © 2018 Tea & Morphine

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