Recording our own ghosts; a review of ‘A Year In The Country – Wandering Through Spectral Fields, Journeys in Otherly Pastoralism, the Further Reaches of Folk and the Parallel Worlds of Hauntology’

Grey Malkin

For nearly five years the A Year In The Country project has been diligently producing field reports from the more haunted and folk horror inclined borderlands and wyrder areas of popular culture. Transmitting via their regularly updated webpage and issuing audio relics in the medium of themed compilation CD/ downloads featuring such artists as The Rowan Amber Mill, Sproatly Smith and United Bible Studies, A Year In The Country (AYITC) has amassed a valuable archive of all that is uncanny, unusual or unsettling in modern culture, whether it is film, TV, literature or music. Be it Bagpuss or Beyond The Black Rainbow, Shirley Collins or Sapphire And Steel, AYITC has documented these idiosyncratic yet highly significant moments in modern media.

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These writings (or transmissions) are reproduced, revised and expanded upon here, in the first AYITC publication ‘Wandering Through Spectral Fields’ (for the musical side of the project please do visit AYITC’s splendid Bandcamp page). Divided into 52 distinct chapters (one for each week of the year), the book is described as;

an exploration of the undercurrents and flipside of bucolic dreams and where they meet and intertwine with the parallel worlds of hauntology; it connects layered and, at times, semi-hidden cultural pathways and signposts, journeying from acid folk to edgelands via electronic music innovators, folkloric film and photography, dreams of lost futures and misremembered televisual tales and transmissions’.

Indeed, AYITC embrace a wide range of avenues to bring together not only a sense of how far reaching and varied the origins, mainstays and current players of genres such as folk horror or hauntology can be, but crucially also how they intertwine and cross pollinate. There are chapters therefore on 70’s acid folk and its impact and influence on today’s folk artists, on ‘Folk Horror Roots’ (including an entire chapter on ‘cultural behemoth’ The Wicker Man) but also on ‘Folk Horror Descendants’ such as Kill List, on apocalyptic popular culture through the decades (taking in the horrific The War Game as well as Frankie Goes To Hollywood) and on dystopian literature and cinema such as No Blade Of Grass, The Midwich Cuckoos and The Day Of The Triffids. Television series that have become a part of the folk horror conversation also feature prominently, such as The Owl Service, The Changes, Penda’s Fen and the influential Robin Redbreast (arguably a forerunner for The Wicker Man). Each chapter expertly charts its chosen subject’s impact upon the public consciousness as well as indicating that these artefacts are now part of a greater cultural cobweb that may well have threads and components that are radically different in genre or style but that equally have a strong commonality in their sense of unease and their haunted content; of similar ghosts in the machine (or spooks in the television and bookshelves). Further investigations delve into folklore, TV public information films and the landscape itself as a medium through which a certain mood, an uncanny, can be evoked.

Speaking to author Stephen Prince, we discussed this sense of cross pollination, over genres overlapping and finding common themes and ground;

SP: I think, to a certain degree, the way in which it isn’t easily definable how the different and loosely gathered areas of culture that are discussed in ‘Wandering Through Spectral Fields’ appear to connect, influence one another, have become part of a lineage etc is an aspect of what is appealing about them and that gathering; it is part of what creates a certain mystique around it. Possibly in an age where every area of culture, no matter how niche, can be investigated and explained by for example a brief online search, it is the sense of a hidden history and stories, of an at least partly unexplained aspect to such work that is one of the things which may draw people to it. Along which lines, some of the older culture, although at times inherently containing a left-of-centredness, was initially produced and intended as quite mainstream entertainment. However, over time it has gained an otherlyness and also become points of interconnected reference and inspiration for future hauntological/ otherly pastoral work or again a loose “tradition” or set of themes:

 

“…they have come to be touchstones or lodestones that seem to invoke a hidden, layered history of the land but which also encompass and intertwine with a wider, hauntological, parallel, alternative version of Britain…” (Wandering Through Spectral Fields, P. 38)

 

In Chapter 4 of the Wandering Through Spectral Fields book (Cuckoos in the Same Nest: Hauntological and Otherly Folk Confluences and Intertwinings) I discuss some possible shared ground for such work, including a yearning for lost utopias; whether Arcadian dreams within more folk/pastoral orientated work or the lost progressive futures of hauntology. Connected to which you may know of this article but in Robert Macfarlane’s “The Eeriness of the English Countryside”, that he wrote for The Guardian in 2015, he suggests a possible more overtly politically orientated or at least rooted explanation for this curious confluence of culture:

 

“What is under way, across a broad spectrum of culture, is an attempt to account for the turbulence of England in the era of late capitalism. The supernatural and paranormal have always been means of figuring powers that cannot otherwise find visible expression. Contemporary anxieties and dissents are here being reassembled and re-presented as spectres, shadows or monsters: our noun monster, indeed, shares an etymology with our verb to demonstrate, meaning to show or reveal (with a largely lost sense of omen or portent).” https://www.theguardian.com/books/2015/apr/10/eeriness-english-countryside-robert-macfarlane

 

There’s not really an overarching and definitive name for this “broad spectrum” of work but in that article he describes such “eerie counter-culture” as being an occulture; which seems appropriate and connects to the earlier mentioned sense of the hidden within such possibly disparate seeming work as some of the roots of the word occult are from the older French word occulte meaning “secret, not divulged” and the Latin occultus which means “hidden, concealed, secret”. I’m wary of seeming overly serious (!) about such things; to a certain degree you could see such cultural exploring as in part a form of grown-up make-believe and world creation, a form of escapist fun. At the same time and connected to the above comments by Robert Macfarlane, that escapist aspect may also at times have roots in more serious areas in that such intertwined work and the worlds it creates could be seen to also create a bulwark from what some may see as the more potentially overwhelming, rapacious or secularly monotheistic aspects of modern life, culture and dominant belief systems.

 

Philosopher Jacque Derrida, who again as you may know introduced the idea of hauntology, suggested that in a certain stage of society (what has been described, possibly erroneously/precipitously, as “the end of history”) the present will start to orient itself towards ideas and aesthetics that can be thought of as rustic, bizarre or “old-timey” or towards the “ghost” of the past. Much of the culture that I discuss in ‘Wandering Through Spectral Fields’ whether older or more contemporary, folkloric and/or hauntological, could be seen as having an “old-timey” or nostalgic aspect. At the same time often rather than purely providing the potentially more comforting, familiar and recreation of the past aspects of nostalgia, it also has reimagined, unsettled or eerie aspects:

 

“A re-imagining and misremembering (that creates) forms of music and culture that seem familiar, comforting and also often unsettling and not a little eerie, creating a sense of work that is haunted by spectres of its and our cultural past…” (P. 27-28; from a section in ‘Wandering Through Spectral Fields’ that brings together some of the recurring themes of hauntology and which could also be applied to work which explores the flipside/undercurrents of folkloric culture).

 

The flipside of folk/pastoral culture and hauntology seem to interconnect to create those familiar but also reimagined, unsettling, eerie and spectral aspects; creating a cultural harvest that on paper and technically you would not expect to, as you also say, cross pollinate but which has proved curiously and intriguingly fertile and hardy.

 

FHR: Can you say more about your motivation for producing ‘Wandering Through Spectral Fields’ and the possibility that this may just be a first volume of many?

 

SP: In terms of why I produced ‘Wandering Through Spectral Field’s as a book separate from the AYITC website; at heart and in part it’s not all that much more complicated than it was a book that I wanted to read, that I found myself looking for over the years. Previous to and since its publication/I finished writing it there have been a number of books released which have explored some similar areas but they have generally more tended to focus on one particular area of related culture; semi-consciously I wanted to bring all these different aspects together as, well, they seem to fit, interconnect and influence one another. Online and print orientated publishing both have their pros and cons, their strengths and weaknesses and I’m not didactically more inclined towards one or the other but the more possibly curated, edited etc aspect of a book can bring a particular theme or set of themes into focus – or again as you say, on reading a collection of writing in book form it is hopefully possible to “see how they become part of a larger cultural tradition”. In terms of ‘Wandering Through Spectral Fields’ possibly becoming part of a series of books; we shall see (!).

 

The AYITC webpage continues to be updated with new thoughts and recollections, new features and films, books, television and music that seem to exist either in a more liminal space outside of the mainstream or that instead occupies the mainstream in a more liminal and unusual manner. Seek it out if you are not already a regular visitor. And for those who favour a little Quatermass with their Wicker Man, a touch of Belbury Poly with their Incredible String Band or a taste of Children of the Stones with an offering of Chocky, this volume is highly recommended.

 

With thanks to Stephen Prince for his time and answers. ‘Wandering Through Spectral Fields’ is available from ayearinthecountry.co.uk as well as Amazon.

 

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Witch Cults T-Shirt Now Available to Preorder.

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The news that our rather wonderful new Folk Horror Revival – Witch Cults shirt is now available to order has been received with great delight here at FHR towers. The admins are frothing at the mouth over the beautiful new design created especially for the event by Andy Paciorek and Cobweb Mehers, in conjunction with Jonas at Tyrant Designs who has done a remarkable job with the manufacturing of these individual pieces.

If you are planning to join us on July 14th and would like to preorder your shirt, either contact Kt Mehers via PM on Facebook, or email us at folkhorrorrevival@gmail.com, please include a contact email address, a delivery address and your chosen size.

The shirts are available in size S, M, L, XL and XXL and are priced at £15. These can be collected at the event. Those who can’t make it can still order a shirt, postage and packaging is priced at £6, and please state in the message that you require the shirt to be posted out to you.

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Another announcement is due in the next few days so keep your eyes open, however if you want to get in early tickets are currently available from the eventbrite link below, priced at £27.54 for the full day event and £16.76 for just the evening.

Hope to see some of you there.

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-witch-cults-tickets-

Folk Horror Revival – Witch Cults Announcement.

After much anticipation we have arrived at our fouth announcement. We have two very exciting additions to our lineup for Witch Cults that will thrill and excite you all.

 

First up, I’m sure you will join us in providing a warm welcome to the lineup for one of the world’s most celebrated experts on witchcraft. A woman whose book The Witch in History is among the seminal works relating to the issue of gender in witchcraft.

Diane Purkiss

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Diane Purkiss is Professor of English literature at Oxford University and fellow of Keble College, and you can’t get much more Gothic than that. She has published widely on witchcraft, fairies, ghosts and other otherness. She also wrote a trilogy of fantasy novels with her son Michael Dowling which focus on Greek monsters and retell Greek mythology from the monsters’ point of view. The title of her talk for Witch Cults is Who’s scary now? Scottish witches in the realms of the dead.

 

Our second announcement for today is something a little different for the lineup. At our Winter Ghosts event in Whitby last December we brought the dramatic arts into a Folk Horror Revival event for the first time, this time we are taking things one step further.

 

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Witch…is she or isn’t she?

written by Tracey Norman

performed by Circle of Spears Productions

 

Is she….or isn’t she?

 

Set loosely in the late 1500s, WITCH follows the story of Margery Scrope, a destitute widow who has been arrested on suspicion of witchcraft, following an accusation from her neighbour Thomas Latimer. He believes that she has cursed his family, causing his daughter’s death and his son’s illness. Local landowner/magistrate Sir William Tyrell, intrigued, summons them both to examine the evidence in the case so he can decide how it should proceed. Is Margery really a witch, or is this nothing more than a neighbourly squabble?

Circle of Spears presents an original piece of theatre based entirely on the experiences of real people drawn from the historical record. It takes particular inspiration from surviving documents in the 1687 witchcraft trial of Lyme Regis housewife Deanes Grimmerton. The show was written in 2016 and has since been performed almost 60 times in a variety of venues across the country.  It gives a voice to the thousands of people who endured the same terrifying situation as Deanes, examining various themes and issues which arise from the characters’ discussion. As the action unfolds, secrets are revealed – but who has the most to hide?

The show was written as a discussion piece, so as you watch, consider… is Margery guilty, or is she simply the keeper of uncomfortable truths?

 

They join those already confirmed for what promises to be a packed day of talks, film, music and drama with a witchy theme. As if that weren’t enough we still have several announcements coming your way, so keep your eyes peeled for more great talks, music, short films and more.

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Tickets priced at £25 for the full day and £15 for the evening only are available from the eventbrite link below.

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-witch-cults-tickets-45698031041

 

Book review: Some Dark Holler by Luke Bauserman

Ephraim Cutler is a 16 year boy, living in the backwoods of Appalachia in the aftermath of the American Civil War. His mother hasn’t been right since his father was killed in the war, killed by a Union bullet. She blackmails him into taking revenge by killing an innocent Yankee, so Ephraim, forced to choose between killing an innocent man or the death of his mother, commits murder. To try and redeem himself, he flees into the forest, but unknown to him, there’s more powerful and sinister forces than the local townsfolk after him, and soon he has a hellhound on his tail.

Some Dark Holler is richly evocative of it’s setting, drawing heavily on Appalachian folklore. I found this to be one of the most interesting aspects of the book, seeing how traditional European beliefs had changed when transplanted to America; the hellhound is a real dog reanimated by a black magic ritual rather than the spectral hound you may be more familiar with, there’s also a granny doctor, an old woman wise in the ways of healing, similar to the wise women of old. It certainly made me want to find out more about the folk tales the author drew on. Luckily, he’s produced a book on this very subject, which is available free from his website, which I’m looking forward to reading.

The plot itself moves along at a fair old gallop, with a fair few twists and turns. Although it’s the first book in a series, it’s satisfying as a stand alone book. I’ll certainly be picking up the sequel when it comes out this year.

More info at www.lukebauserman.com, where as well as his previously mentioned ebook, the author also blogs about local folklore, so well worth checking out.

Review by Scott Lyall

Folk Horror Revival Presents Winter Ghosts, Whitby December 2017

(Folk Horror Revival Presents Winter Ghosts 2017)

Folk Horror Revival Presents Winter Ghosts 2017

Folk Horror Revival presents Winter Ghosts Where better to spend an engaging winter’s evening in the compan…

Where better to spend an engaging winter’s evening in the company of the Folk Horror Revival group, than in the beautiful coastal town of Whitby. This event promises to be one of the highlights of the wyrd calendar, and is most definitely not to be missed.

In the intimate setting of The Metropole, Whitby, we cordially invite you to join us for our winter soiree, a gathering of the clans on the North Yorkshire coast. Folk Horror Revival present a series of exhilarating talks and musical performances for your terpsichorean pleasure.
Beginning at 4pm, the event gets under way with a series of thought provoking oratories with a distinctly local flavour, before we plunge headlong into an evening programme of esoteric, auditory treats for the soul.
Talks:
George Cromack – Coastal Terrors
Elaine Edmunds – The Tell Tale Art
Bob Fischer – A Story To Shiver To
Followed by – The Flash Company’s Mummer’s Play

Live Music:
The Equestrian Vortex featuring Melmoth the Wanderer
The Soulless Party featuring Chris Lambert
Leasungspell
Inkubus Sukkubus

Poster Image courtesy of Andy Paciorek and Erin Sorrey

Two Occult Biographies


A review of Austin Osman Spare: The Life and Legend of London’s Lost Artist (Phil Baker, Strange Attractor Press, 2012) and Madeline Montalban: The Magus of St Giles (Julia Phillips, Neptune Press, 2015)

The chances are, you are more likely to have heard of Austin Spare than you have of Madeline Montalban.

Saying you’re into the work of Austin Osman Spare these days is like saying you’re into the work of Throbbing Gristle, or Nico’s solo work, or Scott Walker’s late era: sure, it’s not a household name, but he’s not exactly unfamous either, and if you have even a passing interest in the occult these days the chances are you’ve heard of him. And that’s OK! His posthumous reputation, although largely mythologised, is deserved.

For my part, Madeline Montalban was part of the furniture of my life since childhood. I could have told you who Madeline Montalban was when I was nine. Dad’s jumbled up collection of Prediction magazines meant that I rarely read them in order; I’d find them in caches around the house, all mixed up, and I don’t recall reading her obituary as a kid (although I must have: It’s in the issue with the picture of Battlestar Galactica on the front that includes Doreen Valiente’s article about the Necronomicon).

I remembered her mainly as having written most of the articles about the Tarot, mysterious and forbidden.

(As a kid I found once a mouldy miniature Tarot deck, rotting in my dad’s garage, but it smelled bad and I left it there, and it ended up binned.)

I had seen Austin Spare’s art before I’d known his name. The lascivious, bare-breasted and faintly malevolent Isis Unveiled on the cover of my Dad’s copy of Francis X King’s Magic: The Western Tradition and several of the illustrations within, that was Spare.

Phil Baker’s Austin Osman Spare: The Life and Legend of London’s Lost Artist(Strange Attractor Press, 2012)is about as comprehensive a biography as one could want of anyone, exhaustively researched, annotated and indexed. It’s a useful reference work without once being any less than enthralling. It’s the sort of thing people call a “tremendous achievement”.

Austin Spare (1886-1956) was feted as an artistic genius in his teens. It didn’t work out for him. He crashed out of Crowley’s Argenteum Astrum. W B Yeats (who always seems to come off like a colossal prick in anything I’ve read) picked a fight with Spare over the illustration of his poems. Spare tried to launch magazines and exhibit work, and founded his own magical system. As time went on, his star waned, and a succession of reversals and misfortunes beset him, culminating in him getting bombed out of his home and losing everything during the Blitz.

He ended up in poverty, but kept ploughing his furrow, in magic and art. He exhibited his paintings in pubs, and in his final few years got tangled up with the flamboyantly imaginative artist/occultist Kenneth Grant who, it’s fair to say, is the reason for Spare’s enduring fame and influence over the occult scene as it is today, particularly through the growth of Chaos Magic.

A good biography needs a linchpin, an idea that forms its heart, and Baker, right from the beginning, stresses that Spare was above all a Cockney. This serves as an effective centre to his story, if not for the unfortunate effect of causing me to imagine Spare’s voice being exactly like the voice of the Phantom Cockney from The Mighty Boosh (I respectfully submit that should the all-too plausible BBC4 dramatisation of his life ever come to pass, Noel Fielding is a shoo-in for the title role).

Spare was, so Baker says, the man Gerald Gardner, the father of Wicca, went to in order to extricate himself from curses, something Gardner seems to have had a problem with. Spare didn’t seem to go much on the man – when Kenneth Grant introduced Spare to Gardner, Spare would later opine that “Dr. Gardner has never met a pukka witch…”

I wonder if Spare ever met Madeline Montalban (1910-1982). Certainly their circles overlapped: she knew Crowley, Gardner and Grant to some extent or other. But I think that if anyone described her as a witch, pukka or otherwise, they would have been subject to her wrath to an exquisite degree.

This was not, as far as I could tell from Julia Phillips’ biography, Madeline Montalban: The Magus of St Giles (Neptune Press, 2015), an altogether unusual occurrence. Montalban was, it seems, a fierce presence, capricious and mercurial, and yet truly beloved by her friends and students.

Looking at the issues of Prediction I have which carry her work, all of which come from the last five years of her life, none of this comes as much of a surprise. She wrote most of the astrology section (although towards the end she got a colleague to ghost it for her), had a regular column on the Tarot, and every issue supplied a piece in the middle of the magazine that was only ever called in the contents “Madeline Montalban’s long astrology article”.

These articles were not always astrology. Looking at them in recent years I’ve often felt that she just turned in whatever the hell she wanted just because she could, and knew they’d pay her to print it, whatever. It doesn’t matter: these articles are almost entirely pretty great. It went both ways, I suppose. Prediction trusted her to bring in the esoteric goods just as much as she trusted them to print her writing. Prediction was still publishing articles by her at least into May that year, although interestingly, one of the last articles she supplied, “The Throne of Understanding”, a cracking piece about using the Old Testament of the Bible as a grimoire, was printed twice, in the February and March 1982 issues. No reference is made to that mistake in any of the issues I have (although I’m missing June and July of that year, so it might be in there). My own writing is heavily influenced by her.

I owe her an awful lot.

Phillips’ biography of Montalban is barely a quarter of the length of Baker’s biography of Spare. It neither has a table of contents nor an index and it’s arranged by rough topics rather than chronologically. I think that’s a deliberate choice: It’s apparent that the bulk of Phillips’ research relies heavily on first hand accounts of Madeline Montalban’s life from people who knew her and survived her, and this necessarily means that the book skews towards living memory, and hence the latter half of her life. By avoiding a chronological structure, Phillips also avoids a more obviously lop-sided book. And it’s the right decision.

I mentioned Austin Spare’s encounters with Gerald Gardner before, mainly for the sake of comparison. Here, there’s an entire chapter on Montalban’s association with the founder of Wicca, including evidence in Gardner’s own handwriting that he had also consulted Montalban on the subject of avoiding curses.

It seems that she was a close associate with Gardner, especially during the writing of High Magic’s Aid, Gardner’s pseudonymous Wiccan ur-text (it’s originally credited to “Scire”) written as fiction for the simple reason that in 1949, witchcraft was still illegal in England. It’s incontrovertible that Montalban was Gardner’s typist and sub-editor.

According to Phillips she claimed right up to her dying day that she actually ghostwrote the whole thing, based on Gardner’s jumbled notes. The whole affair is further complicated by Montalban’s refusal to have anything at all to do with Wicca after Gardner’s death in 1964, even to the extent of cutting off the late Michael Howard (a writer on magic, not the Tory grandee) for a few years after he was initiated into a Wiccan group. Phillips gives getting to the bottom of why this happened her very best shot, but, dependent on recollections of Montalban’s surviving friends and pupils, she has to throw up her hands and let the mystery remain unsolved.

And this is largely a problem Phillips faces, which Baker doesn’t. Austin Spare is heavily documented, both in his own words and those of others, as presented in contemporary accounts from throughout Spare’s life, and Phil Baker is able to show with sensitivity and depth how the man changed over the decades; Julia Phillips’ Madeline Montalban is in some ways frozen in the memory of those who knew her, in the way that the beloved people we lose over the course of our lives so often are. With so few accounts contemporary with the earlier phases of her life, we largely see the final twenty-five years or so, and what we see of her earlier life is through the lens of that later period. This isn’t Phillips’s fault. Her perspective depends on what she had to work on, and personal retrospective, with all its problems, is the bulk of that.

In her lifetime, Madeline Montalban was undeniably far better known than Austin Spare was in his, but their afterlives seem to have afforded them opposite trajectories, I think. Spare, richly documented and mythologised, is collected by celebrities and rock stars and thanks to Kenneth Grant and Pete Carroll, is now very much part of the furniture of the occult stage. Montalban might have been published every month in an internationally distributed print magazine during the peak life of print and the heyday of public interest in the occult, but barely three decades after her death, her life is already beset with lacunae, her early existence a cipher, beloved and well-remembered in anecdote only by survivors and committed enthusiasts.

The record of her role in the history of twentieth century British occultism is in danger, even with work like this, of being forgotten. Her unwillingness to publish her writing in a more permanent form is part of it, I think; she refused to write in book form on principle, according to Phillips. As a result, her legitimately vast body of work (for example, in five years’ worth of magazines I have easily a couple hundred pages of text by her) lies largely in ephemera, in pamphlets, correspondence courses and mainly in a magazine that, reduced to a shadow of its former self, finally ceased publishing about four years ago. In a world where it seems that most things are always available in print or PDF, Madeline Montalban has become increasingly hard to track down.

Of course, one wonders if she would have had more acolytes and prophets had she not been a woman, a disabled woman at that (she’d had polio as a child, with the consequences that brought), and a powerful, awkward, difficult figure. History is kinder in general to difficult men than it is to difficult women. We call difficult men free thinkers and iconoclasts, grand, heroic labels. We call difficult women bossy and selfish, diminutives designed to make them seem childish and ridiculous. It’s easy to do.

She mattered. I suspect that it goes against her own wishes (and hence against the wishes of her literary executors) but I can’t help thinking that perhaps someone should compile Madeline Montalban’s writing into a more permanent form before it vanishes altogether. Before we lose her entirely.

Howard David Ingham

A version of this article was originally published at Chariot (chariotrpg.blogspot.com).

Strange Lands: A Field Guide to the Celtic Otherworld

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Strange Lands: A Field Guide to the Celtic Otherworld by Andy Paciorek~
Strange Lands is a deeply researched and richly illustrated information guide to the entities and beasts of Celtic myth & legend and to the many strange beings that have entered the lore of the land through the influence of other cultures and technological evolution.
At nearly 400 pages and featuring over 170 original illustrations, Strange Lands is an essential accompaniment for both the novice and seasoned walkers between worlds.
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About Strange Lands:
“Right from a child, I have always been fascinated by mythology and folklore, especially the rich corpus originating in the British Isles, and I have read very extensively on the subject. However, I can say in all honesty that Strange Lands is one of the most comprehensive single volumes on British mythological entities that I have ever encountered. Even Dr Katharine M. Briggs’s essential tome, A Dictionary of Fairies, universally acclaimed as the standard work on such beings, now has a rival in terms of the sheer diversity of examples documented.
And where Strange Lands effortlessly outpoints even that classic work is of course in its illustrations, which are truly breathtaking in their beauty, intricacy, and vibrancy” from the foreword by Dr Karl Shuker



Save 20% on Andy Paciorek books
Enter code VIP20 at checkout at
http://www.blurb.com/user/store/andypaciorek
to claim discount.
Offer valid through 21 September 2016

The Human Chimaera: Sideshow Prodigies & Other Exceptional People

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The Human Chimaera: Sideshow Prodigies and Other Exceptional People ~
Containing 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.

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Save 20% on Andy Paciorek books
Enter code VIP20 at checkout at
http://www.blurb.com/user/store/andypaciorek
to claim discount.
Offer valid through 21 September 2016

Wyrd Harvest Press: Charity Donation Poll

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On the Autumn Equinox (September 22) we will again donate 100% of  sales profits from our books to the Wildlife Trusts. Please choose the project below you would like to vote for (write name in comments box below or vote via the pinned post on our Facebook Group.)

We will split donation between the two projects with most votes.
http://www.lulu.com/spotlight/andypaciorek
To see more details of the Wildlife Trusts’ projects or to make a direct donation please visit –
http://www.wildlifetrusts.org/appeals

Choose from ~

Badger Vaccination Project

Save Rare Butterflies

Keep Beavers in the Wild

Protect Nesting Ospreys

HS2 Wildlife in Crisis

Save Blackhouse Woods

Crayfish in Crisis

Help Heathland Birds

Great Fen Project

The Living Landscape


 

100% of profits from FHR / Wyrd Harvest Press books sold are charitably donated at intervals to different environmental, wildlife and community projects undertaken by the Wildlife Trusts.

Titles currently available (more in planning production )-

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Folk Horror Revival: Field Studies – Featuring essays and interviews by many great cinematic, musical, artistic and literary talents, Folk Horror Revival: Field Studies is the most comprehensive and engaging exploration to date of the sub genre of Folk Horror and associated fields in cinema, television, music, art, culture and folklore. Includes contributions by Kim Newman, Robin Hardy, Thomas Ligotti, Philip Pullman, Gary Lachman and many many more. 100% of all profits from sales of the book will be charitably donated to environmental, wildlife and community projects undertaken by The Wildlife Trusts.
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Folk Horror Revival: Corpse Roads –  An epic collection of spellbinding poetry, focusing on folk horror, life, death and the eeriness of the landscape by many creative talents both living and departed. Accompanied throughout with atmospheric imagery by an impressive collection of contemporary photographers. 100% of sales profits from this book are charitably donated to The Wildlife Trusts

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The Carnival of Dark Dreams by Dr Bob Curran & Andy Paciorek – Welcome to The Carnival of Dark Dreams. A visual daytrip into the depths of the jungle, the sands of the desert, to many haunted habitats and worse still into the darkness of the human imagination. But fear not, for captured, caged and presented for your curiosity by Dr. Bob Curran and Mr. Andy Paciorek are some of the most deadly, grotesque, fearsome entities of world folklore. Roll up Roll up for the fright of your lives. Dare you visit The Carnival of Dark Dreams???


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Captive

Captive, by Doris Masters

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It smiles at me with frothy lips
Inviting me to stay;
To watch it as it leaps and drips with sand and stones at play.
The gulls fly screaming overhead
As if their prey to wake;
They dive into the watery mass,
At liberty to take.

Its icy waves they touch my skin
And play around my feet.
Seaweed stops and lingers there, the hazard it will meet.
Who knows what secrets it contains,
On its dark and secret bottom;
With rusting wreckage, and silver bones
Of heroes long forgotten.

What mythical beings are dwelling there?
Mermaids, Monsters, Lorelei;
The tales we heard so long ago, in us will never die.
It’s enticing me to join it
In its never ending quest;
To swallow up the living earth
And leave mortal souls at rest.

The sea goes on forever
As it has since time began;
Guided by a silver moon, never touched by wars or man.
I shiver in its coldness
Wanting not to go,
And leave this green and pleasant land
I have come to know.

I can no longer stay here
A captive on the beach
Two steps back, and they will take me
Forever out of reach.

(August 2016)

Image by Dan Hunt, Seafield Beach MMXVI