Folk Horror Revival – Winter Ghosts 2019 – First Announcement!

This December, Folk Horror Revival, will be returning to Whitby for our second Winter Ghosts event. The all day happening takes place at the Metropole ballroom, on December 14th 2019. The event will run from 1pm until after midnight and features some truly outstanding talks, stories, music, films and much, much more besides. The lineup itself has been handpicked by our team, and features some truly incredible talent that we simply can’t wait for you to see.

It is with much excitement that we would like to announce Al Ridenour as our first guest.

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Explore the authentic folklore, history and contemporary practices associated with the Krampus with Al Ridenour, author of The Krampus and the Old, Dark Christmas and
preeminent English-language expert on the subject. Ridenour’s lively presentation,
illustrated with slides, archival video (and a drop-in by a LIVE KRAMPUS) reveals how
this often-misunderstood figure is connected to centuries-old witchcraft beliefs and an
older darker understanding of the Christmas season as a time offering access to the spirit
world. Now in its second printing, The Krampus was described by LA Times’ books critic
Elizabeth as “gleefully erudite,” and a book that “deserves to become a classic.”
Ridenour is also a producer of Krampus events in Los Angeles, an artist and mask-maker,
and host of the folk-horror podcast, Bone and Sickle.

Home

https://www.boneandsickle.com/

Joining Al for more Krampus related fun and frolics will be Whitby’s very own Elaine Edmunds and Laurence Mitchell of Decadent Drawing, organisers of the annual Whitby Krampus run that takes place each December, and raises much needed funds for The Whitby Wildlife Sanctuary.

https://www.decadentdrawing.com/

 

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We don’t want to say too much at this stage, but we can promise Al, Elaine and Laurence have something a little special planned for Winter Ghosts, and we can’t wait for you all to see it.

Our first musical addition to the lineup is the sensational Burd Ellen, the new solo project from Debbie Armour (Alasdair Roberts, Green Ribbons, Alex Rex) featuring Gayle Brogan (Pefkin, Barrett’s Dottled Beauty) and Lucy Duncan (Luki). The group uses traditional song to explore and evoke dark landscapes and deep stories. Innovative instrumentation, drone and sound-wash support detailed vocal work to create a unique sonic atmosphere.
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Burd Ellen self-released their debut album SILVER CAME in Feb 2019, on limited edition CD. A record exploring women’s narratives in British folk song, SILVER CAME investigates ideas of persistence, defiance, devotion and transformation. The album was recorded by Jer Reid (Painted X-Ray, Claquer, Glasgow Improvisers Orchestra) over two days in the rehearsal space of Glasgow Theatre Arts Collective.

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“sonically adventurous … with an emotional range and a raw inventiveness which is all too rare in contemporary folk circles.” – Alex Neilson
“A masterclass in shimmering, ethereal folk music… Cannot recommend highly enough” – Kyle Lonsdale, Earth Recordings

burdellen.com – burdellen.bandcamp.com
Sweet Lemany music video – https://www.youtube.com/watch?v=PSRB5Vsvx2A

Our final guest for this first announcement is George Cromack, a writer, sessional tutor and lecturer whose core subject areas are creative fiction, specifically Scriptwriting for film & T.V, and Film Studies. For almost ten years George taught on a number of programmes at the University of Hull’s Scarborough Campus – including modules on their Creative Writing Degree. It was during this time he developed his interest in what has become widely known as the Folk Horror genre, the subject of his film based PhD thesis, delivering a paper on some of its narrative conventions at the Fiend in the Furrows Conference in Belfast.  A keen advocate of adult and community education, George also teaches evening classes in Film Studies & Creative Writing for the local Scarborough branch of the WEA and introduces the occasional film screening at the Stephen Joseph Theatre. Recently one of his fictional short stories was included in Terrors Tales for a Winter’s Eve, a small collection of ghostly tales from local writers.

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George’s talk ‘Home for the Holidays’ will take inspiration from adaptations of popular children’s stories in film and television such as The Children of Green Knowe, Moondial and the Amazing Mr Blunden examining their use of the ‘time slip’ narrative, notions of ‘ancestral mystery’ and speculating on their appeal.

Right that’s it for now, we’ve much more still to come, so please keep checking back for further announcements. Tickets are available from the link below priced at £13 for the full day and £7 for the evening. So what are you waiting for, grab your tickets now while stocks last.

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-winter-ghosts-tickets-55468722442.ant

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An Interview with David Bramwell, on his upcoming Cult of Water show.

David Bramwell is a name familiar to many Revivalists, his Singalong-A-Wicker Man show has become almost legendary in our little corner of the internet. David is an incredibly busy and talented man. He has produced programmes for BBC Radio 3 and Radio 4, he gives talks and performs one man shows on a variety of fascinating topics from tricksters to ghost villages. He also co-hosts the Odditorium, a rather splendid podcast based around the book of the same name, one of several that he has co-written with Jo Tinsley (formerly Keeling). We could go on, David’s achievements are many and varied, but they are always interesting and always done with an incredible sense of joy. His latest one man show The Cult of Water opens at the Soho Theatre in London on the 28th January, and I was lucky enough to catch up with David for a chat about this new show and a few other interesting titbits Revivalists may enjoy.

 

 

FHR: Hi David, can you tell us a little bit about your new show, The Cult of Water? Would it be fair to describe it as a psychogeographical journey around the waterways of the Yorkshire of your youth, or is that perhaps a little too simplistic a reading of it?

 

David: That’s a pretty good summary. I grew up in Doncaster. It’s a personal journey up the river Don – told through story, music and and archive film – in search of the supernatural secrets of our inland waterways and to uncover a mystery concerning the drowned village at Ladybower Reservoir in Derbyshire. It’s also a journey back through time to the source of the Don and an age of water worship; the Don originally took its name from the water goddess, Danu.

Along the way I learn about hydromancy from magician Alan Moore, encounter Jarvis Cocker on his own adventures sailing down the Don on an inflatable inner tube, and come face to face with ‘the spirit of dark and lonely water’ from the old public information film of the 70s.

I also uncover the story of artist Mark Golding who, with the help of LSD, unearthed a sacred spring in Hastings – believed to have been frequented by Aleister Crowley – and whose waters saved his son from a terminal lung disease.

At the heart of The Cult of Water is an exploration of the symbolism around water, its association with feminine power and the profound ways in which the elements affect our psyche.

https://sohotheatre.com/shows/the-cult-of-water/

 

 

FHR: I believe you’re being joined in the show by folklorist Chris Roberts who is going to discuss the lost rivers of London? This sounds like a fascinating talk in its own right. What can you tell our readers about Chris and his work?

 

David: Chris is a South London based tour guide, author and expert on many aspects of London folklore and history. Most of his walks are river focused, whether Thames or other, and all of them are rich with legends of the city. He’s written a book (Cross River Traffic) on the history of London’ Bridges and articles on the lost gods of the river as well as delivering talks on the folktales associated with London’s water from feral swine in the Fleet to sacred wells to Saxon goddesses and the ongoing religious rites on the Thames from the Jewish, Pagan, Christian and Hindu traditions.  He was folklore consultant for Stella Duffy’s theatrical piece Taniwha Thames in which a New Zealand river spirit follows a ship back to London and takes up residency under Waterloo Bridge.

 

In 2007 Chris founded the magazine One Eyed Grey, which took many of London’s old myths and legends – such as the legendary shape shifting sorceress of the sewers and hidden rivers Queen Rat – and re-imagined them in a modern context. It culminated for the two of us in a collaboration for Radio 4, a programme called London Nights, in which Chris did the heavy lifting in actually writing the stories while I read them out in my best Martin Jarvis. These stories featured a ghost boat on the Thames and a mermaid at Brockwell Park Lido. Brockwell lido is sort of Chris’s unofficial office, all year round. He’s a water baby. And made of hardier stuff than me.

 

FHR: Can I ask what inspired you to write this show now? Is this something that has been on your mind for some time or was it triggered by recent events in your life?

 

David: I’ve wrestled all my life with thalassophobia – the fear of large bodies of water – and wanted to confront this fear. In the last ten years I went down a rabbit hole researching water cults, sacred springs and wells. I wanted to pay my respect to water. I also became interested in the idea of following a river back to its source. I knew if I was going to make this journey as a pilgrimage it’d have to be along the river Don where I grew up, to search for its lost water goddess and to trace its biological and metaphorical death and resurrection over the millennia. When I discovered that Sheffield adopted Vulcan – the Roman god of fire and forge – as its mascot in the 1800s, the story began to catalyse as a mythic battle of the sexes: goddess of water vs god of fire. During the industrial revolution Danu was the equivalent of a princess locked in a tower and being force-fed MacDonalds for 200 years.

I also wanted to draw on my experiences of being haunted by the image of the drowned church of Ladybower Reservoir poking through the waters during the drought and ladybird plague of 1976. This led to a deeper exploration of the symbolism of stone and water, lines and circles, male and female, the line and circle and finally binary code. I figured if I tell this story and make amends for Vulcan then thalassophobia might loosen its grip. (It has).

In terms of how I wanted to tell the story, Alan Moore’s live spoken performances with music – Snakes and Ladders, The Birth Caul and Highbury Working – were a big influence. When he agreed to provide his voice for some of the Cult of Water I was over the moon. The central premise of his novel Jerusalem seems to be that in staying put anywhere (in his case Northampton) and digging deep enough, all the meaning and myths are there, as long as you know how and where to look. It’s the same with Alan Garner remaining in Alderely Edge for sixty-odd years and mining a different kind of landscape for stories. If Moore could rewrite Northampton as Jerusalem I figured it was time to try my hand at doing that with my old home town of Doncaster.

FHR: I believe the show is directed by Daisy Campbell, the daughter of theatre legend Ken Campbell. Have you known each other for some time, or did you specifically come together with this project in mind?

David: My first solo show, The Haunted Moustache, which delved into magic, spiritualism and the occult, was created with Ken Campbell’s help. I got to know Daisy because of Ken. She’s been a friend for many years. We’re currently collaborating on a podcast series, making her dad’s vast archive of recorded one-man shows available for the first time. Being a seeker, Daisy was the obvious choice for directing this show.

 

FHR: I believe you have worked on a number of broadcasts for both BBC Radio 3 and Radio 4 including a programme about the legendary Ivor Cutler. Can you tell us about any amusing encounters you may have had with him?

 

David: In the mid-90s I sent some scribblings to the poet Ian MacMillan who, at the time, had a slot on the Mark and Lard show on BBC Radio One. Ian seemed to like my poems so I sent a bunch to my hero Ivor Cutler. Cutler was less than enthusiastic and suggested I do something useful with my life instead, such as ‘becoming a teacher or a botanist’. He was right of course, my poetry was awful. But it’s hard getting a rejection letter from your hero.

20 years on I’d started presenting programmes for Radio 4 and got a call from a producer saying that she was considering me as presenter for an Archive Hour on Ivor Cutler and offered me a minute on the phone to ‘sell myself’. I thought for a moment then remembered the rejection letter from Ivor. ‘Do you still have it?’ she asked. ‘I dug it out, read it to her and got the job. So thanks inadvertently to Ivor, I got to make a documentary about him, meet his friends and family and even perform live on one of his harmoniums. If Ivor had still been alive to hear the programme I’m sure I’d have received another rejection letter.

FHR: Many of us know you from your rather wonderful and always well received Singalong-A-Wickerman show. What have been the strangest things to have happened during the various performances of this show? Do you think you were able to invoke something of the ritual spirit that infused the original film?

 

David: Things got strange when, ten years ago, the director Robin Hardy started showing up at our gigs, sometimes with wife and family in tow. I never imagined I’d be leading the director of the Wicker Man in the actions to the Maypole Dance. It was delight to have Robin’s support for the show but it was always a bit odd him being there; we do at times, gently take the piss out of some of the clunky dialogue in the film. The relationship culminated in us us doing the show with Robin in the Elengowan Hotel in Dumfries and Galloway, which is where all the original bar scenes were shot.

Over the years we’ve also had several individuals overcome with the desire to re-enact the naked scenes from Willow’s Song on stage with us. It’s always men. And someone in Belfast once threatened to shoot me for blasphemy. My blood turned cold when he whispered into my ear: ‘I’ve killed before and I’’d kill again.’ I believed him.

 

 

FHR: Beyond adapting The Wicker Man as a sing-a-long. Can I ask you about how the ideas of Folk Horror have influenced your work in general? Are there specific artists, film makers and writers whose work has particularly been influential to you or do you draw more inspiration from the countryside around you?

David: Folk Horror has been, and continues to be, a huge inspiration. Like many of a certain age I really was scarred for life by the spirit of dark and lonely water and haunted by TV programmes like Children of the Stones. I love the unsettled atmosphere of Garner’s work and films like The Shout, Penda’s Fen. And of course The Wicker Man, despite having watched it now over 100 times. More recently the work of Peter Strickland and films like November show the genre is evolving.

There’s a line by Alan Moore that I’ve used in The Cult of Water and also in a track by my band Oddfellow’s Casino: we have wandered too far from some ancient totem. Something central to us that we have misplaced and must find our way back to, following a hair of meaning.’  For me, Folk Horror re-connects us to an age of magic, when everything was imbued with meaning. For me at least, the dark heart of Folk Horror beats strongly in The Cult of Water.

 

 

Thank you to David for speaking to us at FHR, and if you want to buy tickets for The Cult of Water they are available now from the Soho Theatre priced from £10. Just head along to the link below.

 

https://sohotheatre.com/shows/the-cult-of-water/

You can also check out David’s own website for more information on David and any future events or shows.

http://www.drbramwell.com/

Review – Jon Towlson’s Candyman

“Candyman suggests that oral storytelling and, by extension, urban legends are valuable forms of historical memory, and that the process of historical amnesia will be apocalyptic” – Kirsten Moana Thompson, 2007

 

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In 1992 director Bernard Rose released his movie Candyman, loosely based on Clive Barker’s short story The Forbidden, it would go on to become a popular shocker, but there was much more to Candyman than a mere horror film. The film has several different narrative threads running through it, that deal with issues of race, gender and class.

The key protagonist in the story is Helen Lyle, played by Virginia Madsen, a graduate student undertaking research on the topic of urban legends, she visits the Cabrini-Green housing projects to investigate rumours of a hook handed killer known as the Candyman, who was alleged to have been lynched in the late 19th century after fathering a child with a white land owners daughter. With the help of resident Anne-Marie McCoy (Vanessa Williams) and a young boy called Jake, Helen was able to uncover the apartment where the Candyman killings are alleged to have taken place. Helen is later attacked by a drug dealer who is using the Candyman persona to spread fear among the residents.

Helen is eventually visited by the real Candyman, played by Tony Todd, who places her in a trance. Upon waking she finds herself  in Anne-Marie’s apartment, covered in blood, and is duly arrested for the abduction and possible murder of Anne-Marie’s baby son, Anthony. Helen must go out of her way to clear her name, stop the Candyman and attempt to save baby Anthony. I won’t go into any further details for those who may not have seen the film, but it is highly recommended if you want a little more from your horror movies than just blood, guts and gore.

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Devil’s Advocates is a new and ongoing series of monographs from Auteur publishing, concerned with the exploration of the classics of horror cinema, other entries in the series that may be of interest to revivalists include Witchfinder General, Black Sunday and The Texas Chainsaw Massacre. Contributors to the series are drawn from the spheres of education, academia, journalism and literature, but what they each share is a proclivity towards the horror movie.

Candyman is written by Jon Towlson, film critic and author of several classic books on horror cinema including both “Subversive Horror Cinema: Countercultural Messages of Films from Frankenstein to the Present” and “The Turn to Gruesomeness in American Horror Films”. Candyman is his first entry in the Devil’s Advocates series and I would like to think more will surely follow.

There is a great deal of information to unpack and evaluate from Candyman, one of the few films of its era to subvert the genre, and to ask more important socio-political questions about race, gender and class than most of its contemporaries. Towlson manages to handle this in a most assured fashion. His book is insightful, thoroughly researched and written in a readable and yet academic style. The section looking at the Candyman and the Return of the Repressed really gets to the crux of the film’s ideas but it also draws our attention to the different meanings that can be read into the film’s narratives, thus allowing the reader a chance to formulate their own opinions on the issues at play. One thing that is drawn out from all of this is the affinity between the Candyman and Helen, Towlson makes clear that this is at the heart of the film. He calls it a sympathetic indentification between the two. Both are framed as slave and victim, and both are exploited by the capitalist structures of white patriarchy.

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The section of the book dealing with urban legends is also of particular interest to revivalists, especially those with an interest in the Urban Wyrd. Towlson digs into those urban legends that were the inspiration for the Candyman character and how both Bernard Rose and Clive Barker were responsible for bringing those urban legends to the table in the creation and development of the film and the character of the Candyman. This returns us to the quote at the top of this review from Kirsten Moana Thompson about the validity of oral storytelling and urban legends as valuable forms of historical memory. Bernard Rose uses those myths or urban legends to engage us with those deeper problems of race, gender and class that pepper the film’s narrative.

The book also looks at how Bernard Rose took Barker’s short story and developed it for cinema, and how it was received by the mainstream media and horror fans alike. There is also a chapter dedicated to the sequels and some of the other films to have dealt with urban legends in the wake of Candyman’s success. I feel it also worth noting that there is a fascinating and informative interview that Towlson conducted with Bernard Rose in 2016 included as an added  bonus.

Candyman by Jon Towlson is available to purchase from Amazon priced at £9.99

https://www.amazon.co.uk/Candyman-Devils-Advocates-Jon-Towlson/dp/191132554X/ref=sr_1_1?ie=UTF8&qid=1547639724&sr=8-1&keywords=candyman+jon+towlson

A Guide for the Curious – An interview with Sarah K. Marr

Christmas has been a traditional time for the telling of tales of ghosts and the supernatural for many years, and the Edwardian author M.R. James’ short stories have become the most intimately associated with the season, as I’m sure needs no introduction to anyone reading this.

One of his most highly regarded stories is “A Warning to the Curious”, first published in 1925 and adapted by the BBC in 1972 for their Ghost Stories for Christmas strand.

Author Sarah K. Marr recently published an immensely detailed annotated guide to “A Warning to the Curious” on her website which thoroughly explores all aspects of the tale, accompanied by evocative photographs, illustrations, maps and much more.

You can download Sarah’s annotated “Warning to the Curious” here:
http://sarahkmarr.com/

Sarah kindly agreed to speak to Folk Horror Revival about the project.

Folk Horror Revival: Hi Sarah, thanks for agreeing to talk to us at Folk Horror Revival. Can you introduce yourself please?

Sarah Marr: Hi, Folk Horror Revival. I’m Sarah K. Marr, and I’m a writer living near London. I published my debut novel earlier this year—pretty sure I’m contractually obliged to say, All the Perverse Angels, available through all good bookshops—and now I’m turning my thoughts to writing the next one. You can follow me on Twitter, @sarahkmarr, if that’s your thing. Anyway, you’re talking to me because of my guide to M.R. James’s “A Warning to the Curious”.

FHR: What led to your fascination with the works of M.R. James and folk horror in general?

SM: I first read James when at I was at school, and then, some years later, I revisited his work whilst I was living alone in a small, old cottage in the Cotswolds: a perfect environment for those stories. For me, James provides the quintessential model for the English ghost story, the ‘urtext’ from which everything else is derived. Having said that, I do realize it’s a very ahistorical perspective—one can see the influence of earlier works in James’s writing—and that there’s a certain sensibility necessary for becoming immersed in James’s stories. Still, at a personal level, “Is this as good as James?” is a test for any uncanny tale I read.

I grew up in the seventies, so a lot of the ‘hauntological’ nostalgia—I use the term without negative connotations—which is around now harks back to my childhood: it’s still the Spirit of Dark and Lonely Water which keeps me away from disused quarries. Children of the Stones was shown when I was seven, and a year or two later my parents took me to Avebury, where we took it in turns to touch the stones and collapse with appropriate drama. I read Alan Garner, too, and was particularly fond of Red Shift and The Owl Service, both of which shift away from the more fantastical worlds of his Elidor or The Weirdstone of Brisingamen and carry elements of more earthly myth across time periods. I came to The Wicker Man—the ‘gateway drug’ of folk horror—quite a bit later, and I’ve had a stronger focus on folk horror in my reading over the past couple of years, partly as a way of exploring narrative and the construction of story for my own work. There’s also something about the way folk horror is so situated in the landscape which lends itself to photographic interpretation, and then, it seems to me, it’s a question of finding the balance between atmosphere and the avoidance of photographic cliché: I can’t claim that I’m always successful.

FHR: Despite many of the books, films and TV series being around for many years it is only recently that ‘folk horror’ has become a ‘thing’. Do you have any thoughts on why folk horror has become such a growing area of interest to so many people?

SM: It’s one of those things which has arisen from the coming together of many threads, and I’m certainly not the best person to assess them all. Partly, I suspect, it’s a reaction to a language of horror—particularly in films—based around the urban experience, and a desire to ‘reconnect’ with the wider environment. Then there’s the overlap with hauntology, in its broadest sense, and the revisiting of works from the 70s and 80s which itself was grounded in folklore. (Although that, of course, raises the same question about the reasons for folk horror’s prevalence in those years. Flight from the technological realities of the Cold War, perhaps?) There’s also the effect of key pieces and players which cross genres or spheres of influence: The League of Gentleman, for example, bridging horror through comedy, a span which Mark Gatiss so effortlessly crosses and recrosses, of course. Even having the term “folk horror” has helped creators and commentators to coalesce around a shared, if somewhat amorphous, centre of commonality. In a Twitter thread last year I managed to trace its use back to 1936 (in The English Journal, Volume 25, University of Chicago Press), but it’s only really become a mainstream term-of-art in the past few years.

FHR: What was the thing that kickstarted the trip? Were you already familiar with the area so knew where to begin?

SM: I mention in the introduction to the “Annotated Warning to the Curious” that my mother’s unwell, and it was her desire to visit the sea which took me to Aldeburgh. I’d been there a couple of times before, so I had a rough idea of the place. I was also vaguely aware of the connection to James, and it seemed a good way to give the visit a focus; something to take our minds away from illness and into the landscape. The existing guides—particularly those by Darroll Pardoe and Adam Scovell—were a great place to start. “A Podcast to the Curious” has two superb episodes on “A Warning…”, to which I listened on the journey to the coast. Those episodes include an interview with Tom Baynham about his own trip to Aldeburgh to find James’s inspirations. I owe them all my thanks.

FHR: The wide-open landscapes of East Anglia seem to be especially inspirational for many writers of ghost stories. What is about the area that has prompted this?

SM: I’m pretty sure that a full answer to that question requires at least a PhD thesis. I will say, though, that topographically it’s a haunting landscape: flat, unpeopled, windswept. It has about it some element of the Romantic sublime: simultaneously awesome and enveloping, desolate and beautiful. Then, the history of the place adds layer upon layer of meaning and interpretation, each leaving its own traces, building foundations for the next. So, the liminality of the place—the sense that it’s a hinterland for sea, marsh, and downs—extends beyond topography, back through time. All of this, somehow, brings its own melancholy, often hidden just beneath the surface, but always sensed.

FHR: Did you sense any menacing presences over your shoulder or glimpse anything in the corner of your eye as you were wandering around the locations?

SM: I’m one of those people for whom the oh-so-delicious ‘scare’ of horror is partnered with an irreconcilable discontinuity between fiction and reality. A lack of belief in the reality of what one’s reading should remove the ability for it to disturb, but it doesn’t, even as each perspective tries to undermine the other: somehow, it works. So, I’m not one for ‘presences’, but I am one for letting my imagination run wild and facing the consequences. Friston church, early in the morning, was cold and silent and gave me the sense that it’s never truly unoccupied. But for sheer Jamesian disquiet, the award must go to the walk through the empty marshes from Sluice Cottage (supposed home of William Ager) to Paxton’s dig site. Then, I confess, I did look over my shoulder from time to time.

FHR: Such a huge amount of background detail is included in your guide that you must have spent many hours searching through dusty tomes in a manner reminiscent of James’ study of Medieval manuscripts. How many hours were you spent secluded in libraries? Equally how many days were spent traipsing up and down the lonely coastline seeking the locations?

SM: I wish I had been able to spend more time in old libraries: they, together with bookshops, are two of my favourite places in world. I have fond memories of the Bodleian and college libraries in Oxford, and, more recently, the Library of Congress. However, the research for this guide was all done at home, over the course of a month, mostly through Google Books coupled with census and newspaper searches made available through membership of my local library. (Libraries really are awesome.)

Half of my novel is set in 1887, and I used Google Books for a lot of contemporary texts for that, too, so I’ve had some practice. It’s a lot more effective for pre-c.1930 works, which are generally available as complete texts. Luckily, that covers the texts available to James, and much of his own output. The trick is to use the books one finds as one would if they were printed and taken from a library shelf: use their references to find other books, rather than relying solely on individual searches. Then the research grows more ‘organically’, and with more access to obscure details. It doesn’t help, of course, that searching for “M.R. James” turns up every “Mr James” ever printed: one has to go full “Montague Rhodes”.

I do, though, have two printed and well-thumbed copies of The Collected Ghost Stories, a battered first edition of James’s Suffolk and Norfolk, an e-book of the Ash-Tree Press’s A Pleasing Terror, and a fascimile of the 1925 O.S. map of Aldeburgh. I can’t make the trip back to Aldeburgh at the moment, but when I can, I want to use the library there to get tide tables and weather reports and, if possible, to track down a picture of the battery which used to sit by the martello tower.

As for traipsing, I had an afternoon and a morning in Aldeburgh. The afternoon covered the martello tower photographs and allowed me to scope out the rest of the in-town locations and the Sluice Cottage. The following day I got up at 6am and headed out whilst everyone else was asleep. That let me take the unpopulated photographs of the beach, the White Lion, and the churches at Aldeburgh and Froston. Then, after breakfast, there was time to visit Paxton’s dig site and Theberton church. I only identified some of the other locations, or potential locations—Thorpeness Halt station, Woolpit church, Walton Castle—when doing further research after the trip.

Anyway, it is possible to see everything in a fairly short amount of time, and my hope is that someone following in my, and James’s, and Paxton’s footsteps can visit Aldeburgh with all the information they need in one place, and situate themselves within the story itself.

FHR: Do you have any plans for further wanderings in the landscape of M.R. James?

SM: Perhaps: I love this kind of research, and James’s stories have just the right balance of fiction and real-world underpinnings for it to be effective. I was in Somerset recently and, entirely coincidentally, found myself driving past the New Inn in Sampford Courtenay, Devon, which appears in James’s “Martin’s Close”. I have a rather prosaic photograph of it. (I’ve also got a set of then-and-now photographs of Avebury, based on shots in Children of the Stones, and I ought to do something with them.) But undertaking something as detailed as the work on “A Warning to the Curious” is more of a challenge, so I’ll have to wait and see what opportunities present themselves.

Right now, my priorities are working on my own stories, and finishing a stage-/screen-play of “A Warning to the Curious”. I’d recommend the BBC’s 1972 adaption to anyone: although filmed in Norfolk, and although Paxton (played superbly by Peter Vaughan) is older than in James’s description, it does a phenomenal job of capturing the chilling essence of the story. Still, the layers in James’s tale mean there’s so much to bring out, and so many interpretations which can deliver real emotion without deviating from the text in any major way. I’m determined to explore them further. All I have to do now is find someone to stage/film it (and that’s always the toughest part).

FHR: Thank you Sarah for taking the time to speak to us about your Jamesian wanderings and best of luck with your future writings, looking forward to seeing what you come up with next.

Sarah’s book All the Perverse Angels can be purchased here:
And don’t forget to follow Sarah on Twitter here:
Interview conducted by Richard Hing
All photos ©Sarah K. Marr

WYRD KALENDAR, REVIEW BY JOHN PILGRIM

“Gripping, sometimes terrifying but always surprising: this is the year described in the Wyrd Kalendar. Live it if you dare…” – Sebastian Baczkiewicz, Creator of BBC Radio 4’s “Pilgrim”

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Following the cult success of “Songs from the Black Meadow” in 2016, Chris Lambert is set to bring more delight to all those who enjoy the curious, magical and mythical with the release of the Wyrd Kalendar album which is published by Mega DoDo.

The strange, or more appropriately, wyrd stories of the calendar months which are to be found in the book of the same title provide the starting point for each of the artists on this remarkable release.  A captivatingly diverse musical landscape opens out before us and quickly seduces the listener into an enchanting world of folk, electronica, psychedelia and forgotten horror soundtracks.

The new year is heralded in with Widow’s Weeds (led by Grey Malkin, formerly of The Hare and the Moon) with their occult tinged hymn Song for January. This sets the tone for an unsettling but captivating hour. The imaginative electronica of Keith Seatman leads us on before the talented psych-folk singer Emily Jones brings to life the words of her long dead ancestor in Waiting for Spring. And then, before we know it, Crystal Jacqueline is playing us all for fools as she goes Chasing the Gowk.

A personal favourite of this reviewer is the song for May, as Ghost Box’s Beautify Junkyards provide Portuguese pastoral enchantment in the form of May Day Eve.  Those people who had the good fortune to see Beautify Junkyards on their recent visit to these shores will be happy indeed with this sweet vernal offering.  Soon we feel the warmth of the sun on our backs as Alison O’Donnell of Mellow Candle, Flibbertigibbet, Firefay and United Bible Studies teams up with David Colohan in the wasp celebration of Deadly Nest.

The second half of the year unfolds with Scarfolk collaborator Concretism treating us to the vivid imagery of A Fair by the Sea and Icarus Peel exploring lost love and yearning in the musical lament The Weeping Will Walk.

The mellow mists of Autumn begin to fold around us as folk rock duo Tir na nOg invite us to raise a seasonal glass mbine and then it is the turn of Wyrdstone to immerse us in the haunting harvest celebration of The Field.

The Soulless Party leave their familiar abode of the Black Meadow to take us for a deliciously unsettling Dark November Drive
 The year concludes with the ever delightful Rowan Amber Mill who sing us out with The Witch’s Lament.
 A final gift comes in the form of the album’s closing titular track by the shape-shifting talents of The Mortlake Bookclub.

This album and the accompanying book illustrated by the hugely talented Andy Paciorek are the fruits of rich imaginations at work. You would be foolish indeed to consider going through the year in any other way!

The album is available to buy from January 1st 2019 from Mega Dodo as a CD and as digital download, with all profits being donated to Cancer Research UK. https://megadodo.bandcamp.com/album/wyrd-kalendar

The Wyrd Kalendar book is available from http://www.lulu.com/spotlight/andypaciorek

Mega Dodo Bandcamp

www.wyrdkalendar.blogspot.com

 

 

 

Even More Photographs from the Whitby Krampus Run 2018.

We took so many photographs at the Whitby Krampus Run on Saturday that we have decided to post some of our favourites to the blog for you to enjoy. The first couple of posts feature Andy Paciorek’s shots from the day and this post features some of my own shots. Many thanks to Elaine and Louse of Decadent Drawing for putting the whole thing together. We had a blast and we hope to see many of you there next year.

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All photographs in this blogpost copyright 2018 by Darren Charles

A New Title from Wyrd Harvest Press – Fleet by Jane Burn

New from Wyrd Harvest Press ~

Fleet by Jane Burn

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“Fleet is a ‘weltersong’ of desire and otherness. An epic saga of shapeshifting enchantment and an all too familiar drama of longing, banishment, abuse, survival and love. Jane Burn brings her unique vision, wild wordplay and stunning image-making to the evocation of the folklore of the Witch-Hare, and the voices of Motherdoe, Fleet and Daughterhare with the full force of mythic tragedy and Ovidian metamorphosis.” – Bob Beagrie, poet

http://www.lulu.com/shop/jane-burn/fleet/paperback/product-23888091.html

The Whitby Krampus Run – An Interview with Elaine Edmunds and Laurence Mitchell

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The Whitby Krampus Run is rapidly becoming one of the annual must see events in the Whitby calendar. Organised by a couple of ne’er do wells and mischief makers Elaine Edmunds and Laurence Mitchell of Decadent Drawing, this fabulous event grows year on year, raising much needed funds for the amazing work done by the team at the Whitby Wildlife Sanctuary. We were lucky enough to drag Elaine and Laurence away from their preparation for this year’s event to discuss the event’s history, legacy and what the future holds.

 

FHR: The Whitby Krampus Run seems to be growing in popularity year on year. How did it all come about? I believe it has something to do with one of your Decadent Drawing art sessions?

We used to put on monthly themed life drawing/performances at La Rosa. The story of Naughty Little Hans was our festive special in 2013 featuring our very first Krampus. The mask was made by Neal Harvey of Rubber Gorilla. The following evening was actually the Eve of the Feast of St Nicholas,  it seemed a waste not to use the costume again  so we took him for a stroll through Whitby. We started Whitby Krampus Run proper in 2015 with a few friends and it’s developed from here. Once we started getting attention it was time to put it on as a public event with approval of the authorities

 

FHR: The event raises much needed funds for the The Whitby Wildlife Sanctuary, can you tell us how the connection between you and the sanctuary came about, and could you possibly tell us a little about the amazing work they do?

A local charity dear to our hearts because of the sheer dedication and expertise. It’s not just a rescue but a valued educational resource. Every year the work grows and the need for funding increases. They provide an excellent service not just for Whitby but across the NorthEast. I’m honoured to be one of the Trustees.

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FHR: Krampus was a little known folkloric figure hailing from Austria and Germany until the last few years when we have seen a rise in interest in him.  I am sure your event along with Al Ridenour’s wonderful book The Krampus and the Old Dark Christmas are among the myriad of reasons for that growth of interest. For those that know little of Krampus, can you give us a brief introduction to his story?

Certainly little known outside the Austrian and German towns and villages that held the events. Which looking back is quite incredible really. A brief history of Krampus? But considering only slight variations in the Alpine folklore there does not appear to be one definitive answer to his origins but it would be reasonable to say he’s pre Christian pagan and a protector. Krampus mythology had persisted enough throughout the Christianising of Germany to become incorporated into the 16th/17th century Christian narrative. St Nicholas was a popular Saint in Germany with his feast day in early December and Krampus became the good saints side kick, the one that dished out the punishment. Krampus’ appearance is generally anthropomorphic goat a horned hairy beast. Chains on one hand to possibly signify the devil bound by Christianity. Sometimes with a long pointy tongue sometimes without. A modern addition of basket on his back to place naughty children and a bundle of birch twigs to smack them with. No Krampus is complete without bells. Loud bells which would alert you to his coming among the alpine villages and towns. The story is now quite set but Krampus’ image develops with the times…but not for traditionalists.

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FHR:  I believe you make the costumes you use for the run yourselves. Creating such elaborate costumes must involve an enormous amount of work on your part? Can you tell us a little bit about the process, and how the costumes have changed since the event was introduced?

We’ve now got a wooden Austrian mask as well as the latex originals from Neal Harvey. The costumes and props do take a lot of time and effort. The participants put in so much work and enthusiasm into their own costumes and there’s some stunning creations. We are all quite skilled at recycling materials and problem solving. I made a mask last year based on the Star Carr Mesiolithic antler headdress which turned out very well especially as I didn’t know what I was doing. Lisa Eagleton has been very inventive using a horse hoof from a pet shop to put on her prosthetic leg. Interestingly more than half the participants in our group are women. The less ‘traditionalist’ Austrian and German costumes have evolved to become more realistic and orc like…I like them to have more of an older homemade feel…I think it makes for a much odder appearance…much more folk art. We are still to solve the problem of being able to see.

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FHR: I have heard that Whitby Krampus Run 2018 promises to be the biggest and best yet. Can you tell us about anything new and exciting you have planned to take place on the day, or any ideas you may be working on?

It’s an interesting year for us in building on the success. We’re clear that we are an interpretation and not a direct copy. This allows us to incorporate ideas specific to the local and ideas that just seem like mad fun. If they work they can stay if not plenty more where they came from. Really happy to have more Krampus involved this year and see them creating their costume/character. Those involved are all enthusiasts, we all have skill sets but this is new to us all. This year we are really delighted to have a troupe of experienced drummers lead the way bringing a small bit of order. We also have the market place throughout the day where you can bag some merch and we can carry out our parade finale as intended. The market place is a great backdrop and would be perfect to use it for a play or film at night in the future….then one day there’ll be Viking ships, submarines, giant snowballs/toboggan down the donkey path, meat raffles…ideas are no problem just the usual limits of finance and or health and safety.

 

Thank you to Elaine and Laurence for taking time out of their busy schedule to chat to us about The Whitby Krampus Run 2018. The amazing work they do in making people happy and raising money for a cause like the Whitby Wildlife Sanctuary is something that deserves to be applauded.

The Krampus Run takes place on Saturday December 1st around the streets of the beautiful town of Whitby. Several members of the FHR team will be in attendance at this event, and we hope to bring you photographs and reviews of the day for those who are too far away to make it to what will be one of the North of England’s must-see events in the Wyrd calendar for 2018. Hope to see some of you there.

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If you would like to find out more about the Krampus Run check out Elaine and Laurence’s Kramus blog here:

https://spark.adobe.com/page/SabqDn8I1AN4L/?fbclid=IwAR0x4QWgEg12aShz1seqaTmRZeBIvhQcIq7ygZ3F_QB7ArsC5g-xhx0_znY

Their Decadent Drawing blog is at the link below:

https://www.decadentdrawing.com/

 

For more information and for details on how to donate to the Whitby Wildlife Sanctuary:

https://www.whitbywildlife.co.uk/

 

If you’re still craving more information about Krampus Al Ridenour’s excellent book is available from the following Amazon link:

 

 

 

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

 

The Sermon – available to view online now.

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The rather wonderful Folk Horror short, The Sermon from director Dean Puckett is now available to view online. This fabulous short film deals with issues that arise from the question of a young woman’s sexuality in a small rural English village. The film is both thought provoking and beautifully shot on 35mm film in deepest darkest Dartmoor. Puckett uses the British landscape to great effect in this near 12 minute masterpiece. Don’t just take my word for it, view the film yourself from the link below.

Director Dean Puckett cut his teeth making documentary films, the most recent of which was released in 2013, Grasp the Nettle highlights the exploits of a group of land rights activists who battle to set up alternative communities in Britain. The Sermon is his second fiction short to have been supported by Creative England and the BFI after the comedy, horror, sci-fi short Circles in 2015. Circles, which was also set in Devon involved paranormal investigators taking their revenge on a group of crop circle hoaxers. The Sermon premiered at the BFI Flare London LGBTQ+ Film Festival on March 24th, 2018 to critical acclaim.