After having to cancel last year’s Winter Ghosts due to our old friend Covid-19 we are pulling out all the stops to ensure this year’s event is a sumptuous feast for the eyes and ears. This year’s event features the usual selection of talks and music as well as some pretty exciting performances, that we’re keeping a little bit under wraps for the time being, as well as a classic film that we will be unveiling in the very near future.
As many of us are based in wyrm country, up in the North East we have chosen a cryptid theme to this year’s event. So, expect to be regaled with tales of dragons, serpents and sea monsters.
Anyway, without further ado, here is our first lineup announcement. We are keeping all the juicy details close to our chests for now, but we wanted to share with you the supremely talented individuals who will be set to entertain you across the weekend of November 27th and 28th.
First up on the speaker list is an old friend of Folk Horror Revival, Dr Sarah Caldwell Steele – proprietor of The Ebor Jetworks, Gemologist, jewellery designer and expert in all things Jet. Sarah will be presenting a fascinating new talk for us.
The Shrouded Republic is a performance piece inspired by Rev. Robert Kirk of Aberfoyle author of “The Secret Commonwealth of Elves, Fauns and Fairies: A Study in Folklore and Psychical Research” and brings together once again the team that were responsible for the rather wonderful Leasungspell. Led by poet and author Bob Beagrie this promises to be a fascinating piece that needs to be seen.
Up next is Dr David. R Rowe or “Doc” for short. Doc Rowe is an archivist and collector, who has been recording and filming cultural tradition and vernacular arts, folklore, song and dance of Britain and Ireland since the 1960s. His collection currently represents the most extensive collection of audio and video material to celebrate the variety and richness of traditional folk culture of these islands. We look forward to revealing more details about his talk.
We are also incredibly proud to announce that Richard Freeman – Cryptozoologist, writer of both fiction and non-fiction and one of the world’s leading experts on all things Dragon will be joining us to present a talk on what lies behind the dragon legends and is there a possibility that these were more than just folklore?
We are also joined by The Hazelsong Theatre, whose work is rooted in the songs, stories, myth and folklore of the North and the Borderlands and the many cultures that have made the North their home. Hazelsong creates performances which bring together music, storytelling, puppetry and theatre borne of the knowledge that these stories and songs are very much alive. For us they will be presenting a talk on John McKinnell with a vaguely tame wyrm or two in attendance.
Evening Music Lineup
Our evening musical lineup is also very strong and features some of the most interesting performers working within the field today.
Folk Horror Revival are really pleased to be working with one of the brightest new lights in electronic music, Everyday Dust. Everyday Dust is a producer based in Scotland, who uses analogue synthesizers, effects and tape machines to create his own unique narrative-driven music. His most recent album for Castles in Space records, Black Water is a deeply immersive electronic album of sonar explorations which celebrate the ongoing search for the creature at large in Loch Ness. We think you’ll love what could well turn out to be his debut live performance.
Nathalie Stern and the Noizechoir are local legends in the Newcastle music scene, mixing drones and lush harmonised vocals Nathalie and the choir perform music to invoke elder gods to. Why not have a listen to last year’s Nerves and Skin album by Nathalie, that should give you an idea of what to expect from what is a hotly anticipated set.
Our final musical act are darkwave and industrial legends Attrition, after more than 40 years of producing interesting dark electronic music they remain as strong as ever, continually adapting and honing their sound, the group led by Martin Bowes remain at the cutting edge of modern day electronica and remain as influential on today’s artists as they ever have. We are very excited to see what they have in store for us at Winter Ghosts.
Ok that’s almost it, apart from one more artist, a super-secret film screening that we will be announcing in the not-too-distant future, and the relaxed Sunday lineup that is also coming soon. I hope that has whetted your appetite for this year’s Winter Ghosts. Tickets are available now from our Eventbrite page below priced at a modest £13 for the whole weekend. We hope to see many of you there.
Never judge a book by its cover or so ‘they’ say … whomever ‘they’ are, ‘they’ don’t always get it right. The cover artwork of Benjamin Myer’s 2017 novel ‘The Gallows Pole’ designed by Delaney Williams captivated me at first sight. Instant reaction was that this wasn’t a new book but was one of Penguin books vintage green mystery and crime series and indeed though differing in time setting from the 20th Century noir of the majority of the Penguin books, ‘The Gallows Pole’ would be a more than worthy addition to the series. There is a ‘folk horror’ sensibility also to the artwork and within the novel itself there is an element of this sub-genre. Telling the tale of ‘King’ David Hartley, leader of the Cragg Vale Coiners, a troop of currency forgers living and working on the West Yorkshire Moors in the 18th Century, the sense of place and landscape is integral to the tale and this would in itself lend itself well to the folk horror reader but the visions of David Hartley and his reverence to a stag entity tie a tighter knot – as does the unfolding brutality as an outside agency heads north to the barren heaths to investigate the crimes against the crown. Myer’s writing itself is visionary and atmospheric, transporting the reader to the time and place of the harsh drama, which itself is inspired by true events. The dark mystique of the cover indeed is highly evocative of the tale that Myers spins with great craft and gravity.
Benjamin Myers’ roots lie in the soil of County Durham, as does those of Folk Horror Revival and also of The Shining Levels, a band that inspired by Myer’s novel have created a beautiful album of music and lyrics also entitled The Gallows pole.
Having had the good fortune to see The Shining Levels perform live at The Old Cinema Launderette in Durham and at the lovely Victorian library in Darlington as part of the Hark music and literature event, I urge anyone who gets chance to see The Shining Levels in concert to do so as their live performance brings a further element of beauty and depth to the stunning creation that is The Gallows Pole.
Folk Horror Revival were honoured to have The Shining Levels answer a few of our queries …
Folk Horror Revival: How did the collaboration with Ben Myers to produce a concept album inspired by his book The Gallows Pole come about?
The Shining Levels: The idea was first mentioned by Dan as a solution to me (Davey) whining about going through a creative void. It was a real light-bulb moment and the obvious thing was to create the album together which is exactly what we did once we had Ben’s permission and blessing to do so. He’d actually forgotten all about it and was genuinely shocked when I said it was nearly finished and could I get him to do a short piece of spoken word on it. Thankfully he really liked what we’d done and was happy to be associated with it. He was also very flattered that his book had inspired others to create their own work. Then we were then lucky enough to be taken on by our fantastic label Outre who did a great job of releasing a beautiful vinyl for us.
FHR: What is it about The Gallows Pole novel that you find particularly evocative and inspirational?
TSL: There is so much to delve into, the story of these poor people being able to stick it to a government that doesn’t care for them really resonated with us. There are so many defined characters with their own interesting storylines and there are several themes running through the book that really matter to people, like corruption, solidarity, treachery… I could go on. But when you add the thread of the supernatural, King David’s frightening visions of Stag Men and the alchemy of the coin replication it takes it to another level. And I shouldn’t forget to mention the way Ben writes and describes the landscape, it’s like another character, as a songwriter it’s a gift to turn a landscape into a soundscape.
FHR: Yourselves and Ben Myers hail from Durham (as incidentally do the founders of the Folk Horror Revival project); what is it about the county and / or city that you think inspires art of such a nature?
TSL: As I mentioned landscape is very important and we are lucky to have such beautiful surroundings here. From rich woodland to beautiful moorland and rolling hills, all mixed together. I’m a regular visitor to it all and I think you can feel its history coming up through your feet. Whether that is strolling the riverbanks in the city or moving further to the outskirts and hills, there are ghosts of our past right there. One day we’ll all be ghosts of it too so creating art out of that inspiration is very satisfying.
Not to forget the people, Durham has unique character and references. The city is very small so there are many cross connections and small degrees of separation. It’s a place with a full spectrum of characters to draw inspiration from.
FHR: Does your band name relate to the book ‘The Shining Levels’ by John Wyatt about his transition to rural life in the Lake District, or indeed the name applied to the lakes and tarns of Cumbria? Is this a book of any significance to you or did you come about the band name for a different reason?
TSL: Ben gave me a copy of that book about 20 years ago and I loved it. We’d virtually finished the album before we arrived at our name. We were throwing names back and forth over text and email, between me and Dan and then myself and Ben and that one came up. I believe it was one of Ben’s ideas as I’d asked him for his thoughts and we immediately all agreed on that. The imagery it evokes and the fact it has a literary connection. It sounds bright, hopeful and grand to me. Ben gifted it to me twice.
FHR: You recently performed live at the Hark event at Darlington Library which brought music and literature together as its theme and of course The Gallows Pole revolves around Ben’s novel; Are there any other books that you find of great inspiration or influence? Would you consider doing other albums pertaining to particular books?
TSL: I love the concept of art forms connecting and crossing over. Art inspiring art. I think we’re going to see more cross pollination in the future so it feels natural that we would follow up on the success of The Gallows Pole album with another literary connection which is what we are doing now.
Personally, I buy/receive more books than I have time to read which is ridiculous. I’m a bit of a geek so my go to choice is generally sci – fi/fantasy fiction though I do read other genres and non – fiction too. I think music could be written to any book you like. That’s why we’re careful to use the term ‘Inspired by’ rather than suggest it’s a soundtrack.
FHR: What plans lie ahead for The Shining Levels?
TSL: In 2020 we plan on playing many more live events and will hopefully both finish and release our next album which we’re hard at work with now. Something different but it will still very definitely sound like us.
(A little birdy has chirped that The Shining Levels may be seen and heard at Folk Horror Revival’s Winter Ghosts event in Whitby in November … touchwood … keep watching this space …)
Big Thanks also to everyone who braved the cold nights, sea fret, Transylvanian vampires, gytrashes, amorous seamen, Padfoot, Bearded Fred and other perils to attend Winter Ghosts.
Hope you enjoyed it.
So as the Autumn takes full hold it is time for us to announce the final acts for this year’s Folk Horror Revival – Winter Ghosts event that takes place December 14th at the Metropole in Whitby.
Our final musical act are the rather wonderful Scottish prog rockers Big Hogg.
Big Hogg are a 6 piece Canterbury influenced progressive group mixing threads of acid folk , Dr John , Kevin Ayers and 60s and 70s west coast psych.They released their eponymous debut album on Neon Tetra in 2015 and built up a glowing live reputation following shows at the Barrowlands , Rockaway Beach ,Wickerman and Eden festivals. In 2017 they signed with London label BEM who released their critically acclaimed “Gargoyles” album in May of that year. Record Collector magazine described it as ” An epic fantasia through Glasgow’s grimy underbelly with tumbling brass and suspended jazz chords” , while prog magazine describes them as ” masters of weaving an aural tapestry of influences together to create some suitably brilliant and uplifting music in the true spirit of the Canterbury pioneers” The band are currently recording their third album.
Joining the lineup is our very own Darren Charles who will be bringing his Unearthing Forgotten Horrors radio show to the event. Featuring an eclectic mix of music, Darren’s aim will be to get everyone up and dancing to the very best in prog, folk, metal, goth, alternative, electronica and psychedelic music.
Finally we will be screening three rather fabulous short films.
Welcome to a voyage from novice to initiate. The chthonic path is the common thread that weaves together the various underground religions in America from Wicca to Voodoo and Stregheria to Santeria, and everything in between. Along our pilgrimage, we will unfold the historical background in places where witchcraft came into its own distinctive form such as Salem, New Orleans, New York City, and Los Angeles. American Witch will also explore the stories of practitioners and how it’s changed their lives.
Scarlett Amaris has co-written scripts for the seminal horror anthology THE THEATRE
BIZARRE (2011), the award-winning, supernatural documentary THE OTHERWORLD
(L’AUTRE MONDE) (2013), featuring years of her research into the mysteries of the South of France, in which she appears as a resident expert, and the horror film REPLACE (2017). She’s co-written the dark fantasy trilogy SAURIMONDE I, II & III, and her first contemporary fiction novel DESIRED PYROTECHNICS will debut in 2019. A well-regarded authority on alternative history, her research has been featured in numerous books and anthologies. She also teaches comparative mythology and witchcraft at The Crooked Path Occult Apothecary in Los Angeles, and is a founding member of the Tridents of Hekate coven. Scarlett’s screenplay for H.P. Lovecraft’s The Colour Out of Space is currently receiving a great deal of praise across the festival circuit ahead of its release.
Melissa St. Hilaire wrote film and music reviews for The Heights Inc. Her poetry has appeared in the periodicals Shards, The Outer Fringe, and The Laughing Medusa. She co-authored several scripts for Tone-East Productions. She has written articles for Feminine Power Circle, Savvy Authors, SF Signal, and The Qwillery, among others. She has also appeared in the anthology books Folk Horror Revival: Field Studies and Folk Horror Revival: Corpse Roads. Her debut book was a memoir titled In The Now. She co-wrote the dark fantasy series, Saurimonde, with Scarlett Amaris, and is currently finishing a sci-fi novel called X’odus. She is also a founding member of the Tridents of Hekate coven.
Gary Parsons is an MA film graduate from Goldsmiths College London who specialises in short films. Utilizing both, elements of the surrealist genre and images of the occult, these films are both beautiful and at times disturbing. They also tap into the verisimilitude of the erotic and the unconventional.
Gary has been influenced by film-makers such as Jan Svankmajer, Kenneth Anger, Alejandro Jodorowsky, Luis Bunuel, Hans Richter, Man Ray and Jean Rollin. All these elements meet within a melting pot to find visual references within the work.
Gary’s films can be viewed in many different ways, as straight forward narrative pieces but also as ritual film as demonstrated by similar film-makers such as Maya Derren or even as music promo video. The films stand as an ongoing obsession of their maker as an overall understanding of the human psyche within certain specific landscapes.
Conjuration is Gary’s most recent film and is based around an Alexandrian ritual. It deals with modern day magick, but also correlates it with magick’s heritage through Gary’s impeccable choice of shooting locations. Several powerful ancient sites, notably Avebury, Glastonbury, Pompeii and Oslo were chosen for this purpose.
Louhi, The Northern Witch
Directed by Lauri Löytökoski, Louhi, The Northern Witch is a silent film with an ambient-folk score, based on The Kalevala, the Finnish national epic, the story draws from its shamanistic aspects.
The lead character is Runoi; a nascent witch who confronts his mother’s night terrors and is quickly transported into the realm of Louhi, the witch-queen of the undead. He journeys to axis mundi, the mythical pillar connecting heaven, earth and the underworld.
Main characters of The Kalevala are introduced as vessels for him to pass through. In the lines of Carl G. Jung’s anima/animus theory, they represent subconscious element of one’s sexuality, the opposite of the dominant side.
So, that pretty much completes this year’s action packed lineup. Tickets are currently available from the eventbrite page below. We hope to see you all there for what promises to be another spectacular weekend of music, film, talks and art.
Don’t forget as well as the main Saturday event there will be the Thresholds Art Show in conjunction with Decadent Drawing, the unofficial Friday ice-breaker featuring Storm Chorus at the Rifle Club, and the Ghost story readings at the Hetty and Betty Cafe in Baxtergate on Sunday 15th.
In August 2017 via the pages of Fortean Times Magazine I first heard of the film Holy Terrors created by Mark Goodall and Julian Butler much to my delight and anxiety. Not only was it a movie featuring 6 weird tales of Arthur Machen but it was made in Whitby! Machen and Whitby – two things I cherish very dearly so I was very eager to see this film but also worried that it might be awful. (Those worries were happily unnecessary.)
Also at the time we at Folk Horror Revival were organising the Winter Ghosts event for the following December in Whitby. I mentioned to our Events Manager, Darren Charles how the film could’ve been a good addition to our bill if it were not already fully booked. Then much to my surprise and delight, I received an email from the film director Mark Goodall, who had heard about our event and was wondering if we would like to screen Holy Terrors there. Would we?? Is a bear Catholic? Does the pope … Yes! We were interested!
Some jiggling around of schedule and the film was added to the bill and was indeed an atmospheric and beautiful end-piece to the event.
Before discussing the film further, just a short resume of Arthur Machen, for although his light is belatedly beginning to shine brighter, outside of certain horror fiction circles, he is still something of an unknown quantity to many folk.
Born in Wales in 1863, Machen’s career in weird fiction blossomed out of the Symbolist and Aesthetic fin de siècle of the 1890’s. Like a number of other artists and writers of the era, Machen’s work was a curious brew of spirituality and decadence. Blending paganism and Christianity both in his work and in his own personal mysticism, born the son of an Anglican minister he was a member of the Hermetic Order of the Golden Dawn, but did not renounce his Christian faith. He therefore, in a sense, has an air of the notion of Celtic or Insular Christianity, whereby it has been suggested that some of the earliest priests of the Celtic Church were possibly former druids some of whom preferred to preach in the outside cathedral of nature than within a church; and that numerous acolytes of which were ascetic hermits that lived in remote quiet places. Oddly enough it is often claimed that the Synod of Whitby marked the official end of the Celtic Church. (The Synod of Whitby (664 A.D.) was a Northumbrian synod where King Oswiu of Northumbria ruled that his kingdom would calculate Easter and observe the monastic tonsure according to the customs of Rome, rather than the customs practised by Irish monks at Iona and its satellite institutions. The synod was summoned at Hilda’s double monastery of Streonshalh (Streanæshalch), later called Whitby Abbey.)
Machen was one of the early masters of weird fiction, particularly a faction of which, with his own use of folklore (notably the use of fairies not in their tiny twee Disneyfied forms but as the strange human sized people of old lore) and spirit of place, may now frequently be referred to as Folk Horror.
Those who cite Machen as an inspiration or to express enthusiasm for his work include figures as diverse as the writers H.P. Lovecraft, Jorge Luis Borges, Stephen King, Ramsay Campbell, Alan Moore, Iain Sinclair and Sir John Betjeman through to musicians such as Mark E. Smith, Belbury Poly and Current 93. Notorious occultist Aleister Crowley was a fan of Machen’s work but reputedly it was far from being reciprocated, with Machen having a personal dislike for the man.
So how would Machen’s subtle strange tales translate to screen?
Holy Terrors slowly fades in to scenes of an empty shore and a desolate man. The hauntological soundscape of composer David Chatton Barker (Folklore Tapes) leads us to the body of a man beneath a bridge. Thus opens ‘A Cosy Room’ the first of the 6-weird tales of Arthur Machen. (Indeed, I can vouch it is a cosy room and one not devoid of otherly presence either as I recognised it straight away as a room that I myself have spent several nights in. In fact, after viewing Holy Terrors for the first time at Winter Ghosts, it was the room that I would return to sleep in that very night. The filming location for this segment was The Stoker Room of the cool and quirky hotel La Rosa in Whitby’s East Terrace. Overlooking a great view of Whitby Abbey and the harbour, the wonderful building-sized cabinet of curiosities that is La Rosa hotel has a plaque outside marking it as a place that author Charles Dodgson, aka Lewis Carroll of Wonderland fame amongst other things, stayed at several times. The Angel Hotel in New Quay Road is also suitably plaque-bearing as a residence where Machen stayed.)
The opening wordless narrative shot in atmospheric black and white marked in me the feeling that I was really going to like this film, but also mark it as a film that would not appeal to viewers who only like their horror visceral, fast and with a simple plot and conclusion. Like the tales of Machen, this film adaptation is steady, subtle, atmospheric and most often strange rather than horrific. Some of the tales do not build up to a definite explanation and conclusion but remain more as captures of a strange moment or sequence, rather like many reported real life anomalous experiences.
So, it is safe to say from the outset I could see that Holy Terrors will not be to all tastes but is deliciously to mine.
We are then invited to taste The White Powder of the second tale. This is one of the Machen stories to have a more typical sense of narrative in that it follows an event to a solid culmination. It is a tale of both dread and decadence and has both the air of M.R. James ‘The Ash Tree and Kafka’s Metamorphosis but still remains essentially a Machen tale.
(an amusing synchronicity with the screening at Winter Ghosts was that the imbiber of the said White Powder of the film develops an odd black spot on his hand as an early symptom that something is amiss. The black spot very much resembled the black spot on the audience members’ hands that bore the blurred remains of the mark of the Folk Horror Revival sun symbol hand-stamp.)
The White Powder is a solidly told tale and it really brings forth the power of Goodall’s film-making. Relying strongly on an audio narration that bonds Machen completely with these new dreaming of his creations, the character that is etched within the faces, particularly the eyes of the actors in this film is a strong motif, that in its use becomes somewhat hypnotic. Another film-making skill that Goodall employs to great effect is making Whitby timeless; the use of soft focus, careful framing and light bleached backgrounds removes any trappings of modern life such as shopfront banners and so forth.
The third tale is one of Machen’s most famous, not because it is his best work or most identifiable of his style but because it has been noted as being the possible origin of the Angels of Mons legend. At the Battle of Mons on the French borders in 1914, it was claimed and published in the British Spiritualist magazine in 1915, that British soldiers were protected in battle by a host of Heavenly angels. However, in 1914 The Evening News newspaper had published Machen’s story The Bowmen, in which a battalion headed by Saint George intervenes in a conflict between World War I British and German forces.
Out of all the stories within the Holy Terrors film The Bowmen could have been the most problematic for a low budget production. By the effective use of old newsreels of wartime footage, Goodall skillfully conquers this problem and overall the artistry of the entire film does not give the slightest impression at all that it is not studio funded. The photography, editing and production is on the contrary not only skillful but beautiful.
The fourth segment of the portmanteau initiates us into the Ritual. It is however not a ritual of hooded or sky-clad figures in the depths of a wood or desecrated church but that of a playground game of schoolchildren. The simplicity of this has a deeply unsettling nature and again the actors of Holy Terrors deserve applause. To act without words uttered needs to tread a line between expression, subtlety and communicative skill lest it become exaggerated like a mime performance. Again, we find great casting is at work here, for the children have a look to them that would not see their faces out of place in antique Victorian or Edwardian photography.
The next tale, The Happy Children remains with the theme of strange youths. Unlike those in Ritual, there is a question arises as to whether these children are alive or even of human nature – a Celtic belief about Fairies is that they are spirits of the dead and the Happy Children indeed have an otherworldly sense to them. This segment again effectively uses the townscape of Whitby as a strange and beautiful filming location, and with good cause for this tale is set in Whitby. It is renamed Banwick but the tale is undeniably inspired by Machen’s visit to Whitby on a journalistic task to report on the town’s Jet industry. The story reveals Machen’s mystical sensitivity both of place and to the horrors of war. Whitby and other towns on the North Eastern English coast had been subject to wartime attack by the Germans and Machen’s reference also to the biblical slaughter of the innocents undertaken by Herod in his efforts to eliminate the infant messiah.
A phrase within the story describing Whitby as The Town of Magical Dream is a perfect description (it also is aptly used by Carolyn Waudby for her excellent essay on Whitby). The night after Winter Ghosts I walked Whitby’s streets and the pier and the 199 steps to Saint Mary’s Church and the Abbey, and it was not mere suggestion but there was a palpable otherness to the coastal town darkened save for the twinkling of Christmas lights. There was a definite presence, not unwelcoming for the most part save for the pool behind the abbey where I felt that I was not meant to proceed further so I didn’t and for a strange unsettling sensation in the Screaming Tunnel of the Khyber Pass. I know that I am far from being the only one to sense something strange in Whitby’s thin sea fretted air – Machen sensed the liminality as did Bram Stoker and Mark Goodall captures it in Holy Terrors as do Michael Smith and Maxy Neil Bianco in their atmospheric and poetic short film ~ Stranger on the Shore: Hounds of Whitby.
Francis Frith: The Peart family. Whitby 1891
Holy Terrors concludes with Midsummer and for the first time, the effective ambient monochrome palette is replaced with colour; but this is the colour of hand-tinted antique photographs, the faded pastels of half-remembered dreams and half-forgotten memories. It is a fitting place to leave the darkness and step into the light, but minding always that they are integral to and part of each other.
And on this note we will depart this house of souls, with the conclusion that whilst Holy Terrors may not suit the constitution of all, it is a film that has found its way under my skin and into my head and heart and for it its understated beauty and mesmeric invocations, it is something I feel that has touched me deeply. When I first read about this film with my mingled feelings of trepidation and tantalisation, I happily know now that I had nothing to worry about but happily a fair bit perhaps to fear.
There have been several notes of Thanks issued from the Folk Horror Revial Inner Sanctum over the last few days. I do not need to repeat all individual names but I do need to to echo again the great gratitude to those that made a great year for Folk Horror Revival. There has been difficulties along the way but also a lot of fun, talent, hard work and generosity that has really taken some of us from moments of despair into joy of the creation of something special and sincere. So again Thank You very much, you know who you are or should do.
The year culminated with Winter Ghosts and presented here is a poem written especially for the event by Erin Sorrey. Erin has been a great support to me through the year and FHR journey as well as being a talented element of the Revival itself . Much love, thanks and respect.
Myself (Andy Paciorek), Darren Charles and all the Folk Horror Revival cult wish you all a peaceful, pleasant, prosperous and a somewhat horrifically haunting 2018.
to walk upon the crystal dust
of frozen rain and tears
the ghosts of winter
still follow in my wake
of the tracks
of my fallen footsteps
a silence of echoes
a stirring of souls
that glitter like yule lights
in charnel grounds
and beneath cathedral peaks
shadows cast by lunar rays
and electric lanterns
like melting snowmen
into white noise
A final reminder that the Hark: Alternative Yule Art Exhibition at the Stuart Duckett Design Store in Whitby runs until 2nd January 2018
Last chance to see this collective of great art in the beautiful coastal town of Whitby this season.
Features such talents as ~
Julia Jeffrey – Stonemaiden Art
Erin Sorrey – Glass Coffin
Drawing in Dark
& more (apologies to those not named – rush to get this final hark posted)