15% Discount on all our books

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15% Off All Wyrd Harvest Press / Folk Horror Revival Books

Just add code ONEFIVE at checkout at
http://www.lulu.com/spotlight/andypaciorek

Sales profits from books bought at our online Lulu store are charitably donated to The Wildlife Trusts

Offer ends 30 May 2019

 

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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 Sara Hannant

Folk Horror Revival is pleased to have put a few questions to accomplished photographer Sara Hannant …

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Folk Horror Revival: Hi Sara, thank you for agreeing to be interviewed. Firstly, could you tell our readers a little about yourself, your inspirations and how you came to become a photographer?

Sara Hannant: Photographs can transport you to other times and places.  That capacity for reverie and storytelling has always fascinated me.  When I first started making pictures, I wanted to tell stories about people or experiences that I felt had previously been misrepresented.  I initiated collaborative portraiture projects so that the people I photographed actively contributed to making the image.  While I was an art student at Dartington College of Arts, I worked with Gypsies and Travellers to portray their daily life, which was very different from how they were shown in the local press.  The exhibition Pictures of Ourselves was shown at Plymouth Arts Centre alongside Gypsies by the Magnum photographer Joseph Koudelka.  Seeing the emotional power of Koudelka’s work prompted me to study documentary photography at Newport College of Art.  After completing the course, I worked as a professional photographer for national papers and magazines, and charities in the UK and abroad, mainly on commissions about social issues.  Through experimental approaches, I continue to investigate how the photographic image can alter the perception and reception of subjects that are misunderstood or overlooked.

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Abbots Bromley Horn Dancers, Staffordshire

FHR: Your book Mummers, Maypoles and Milkmaids: A Journey Through the Ritual Year is a thorough and intriguing photo essay of traditional / contemporary English festivals and ceremonies. How did this book arise and were there any rites and rituals that particularly struck a personal chord with you?

SH: Mummers, Maypoles and Milkmaids: A Journey Through the Ritual Year started with a chance encounter in 2006 with Deptford Jack in the Green.  This discovery instigated my country-wide search for similar seasonal rites occurring through the wheel of the year.  I became interested in rituals which claim an ancient origin as well as those which are re-imagined or re-invented.  I am particularly fond of the fire festivals which light up the dark midwinter nights such as those at Ottery St Mary, Allendale and Lewes.  I also love the way the summer is welcomed in with performances of the Hal-an-tow in Helston Cornwall.  I aimed to capture the excitement and mystery of seasonal rites while celebrating the enduring social relevance of these popular customs for rural and urban communities.  I am delighted that Merrell published the book and the Horniman Museum showed the exhibition for nearly a year and subsequently toured the show.  It is the first British ethnographic exhibition that the museum has shown and the first to normalise representations of Paganism as part of English society.

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Burning effigies of David Cameron and Nick Clegg, Cliffe Bonfire Society, Lewes, Sussex

FHR: Are there any other festivals or rituals from anywhere around the world you would especially like to capture and perhaps produce a book upon?

SH: Before Mummers, Maypoles and Milkmaids: A Journey Through the Ritual Year, I had documented community festivals in Mexico, India and Prague and felt it was time to explore the rich folklore closer to home.  There are many more contemporary British folkloric practices I would like to photograph.  I had thought of extending Mummers, Maypoles and Milkmaids: A Journey Through the Ritual Year to produce subsequent books that explore seasonal rites in the rest of the UK and I have made a start on this.

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Baphomet, Museum of Witchcraft and Magic

FHR: Another of your books Of Shadows captures One Hundred Objects from the Museum of Witchcraft and Magic contains some very beguiling objects and artefacts; which are your personal favourite pieces from the collection and were there any objects that gave you the creeps or otherwise gave you a particular feeling whilst in their presence?

SH: Yes, the museum is full of enchanted objects some of which appear to have an intense presence, especially at night.  However, all of the artefacts in the museum have a resonance whether it’s because of their original magical use, the intentions bound into their making or the undeniable materiality of magical belief.  There were times when this potency felt palpable, particularly with objects once used in rituals or to represent ritual practice such as Baphomet/Old Horny.  The objects made to harness natural or spirit forces were captivating and often embodied ancient knowledge.  One of my favourite pieces is an example of the knot magic used by local witches when ‘Selling the wind’ to sailors.  The implements of torture used during the Witch Trials gave me the creeps!

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Skull used for Ritual Magic, Museum of Witchcraft and Magic

FHR: The format and style taken in Of Shadows is very effective. It gives the items a presence as if their portraits and biographies are granted rather than simply catalogued. Are there any other museum or gallery collections you would like to similarly present?

SH: Thank you, I felt privileged to engage with the magical objects and their hidden histories.  Several collections fascinate me including those at the Horniman, Petrie and Cuming Museums.  Once objects are removed from their original context, it is a challenge to rekindle some of their original properties.  I enjoy responding to those traces of energy which remain in the material.

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Rapunzel

FHR:  On your website you have some other beautiful and bewitching albums. Numinous is very well named as the images have a certain unearthly, spiritual allure whilst Ladybird, ladybird and Cinderella: Your House is on Fire combine nostalgia with the somewhat sinister and visually seductive encroachment of flames. Could you tell us more about the inspiration behind these images?

SH: Both of these projects reveal the process by which one thing, through intention, becomes another.  Numinous is inspired by healing rituals at sacred wells in Cornwall.  The images are deliberately ambiguous and explore magical belief and transformation.  In folklore, a strip of cloth or ‘cloutie’ is torn from a person’s garment, dipped into the well then hung on a nearby tree.  As it falls to the earth and rots, it is believed the illness will disappear. The cloths are said to connect to the divine power or spirits thought to inhabit the sacred place. Unfortunately, some people leave fabrics that will not biodegrade, and the Cornish Ancient Sites Protection Network consequently removes the offerings.  I have re-animated these discarded cloths using natural forces in keeping with the folk magic, symbolised by the classical elements.

Cinderella: Your House is on Fire and Ladybird, ladybird question the agency of the persecuted heroine in fairy tales.  On rediscovering my childhood copy of Cinderella, I felt compelled to revise the stereotyped images of the female protagonist to tell a different story.  Fire—a symbol of hearth and home, destruction, trial, purging, and purification seemed like the ideal agent for change.  As the pages burn, images and text are revealed or juxtaposed, re-visioning old stereotypes to enable new ideas and narratives.

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Remembering

FHR: Finally, could you tell us any other photographers and artists whose work inspires or speaks to you? Also, what are you currently working on and what projects do you have planned or are considering for the future?

SH: I admire many photographers and artists from a variety of genres.  Research into other disciplines such as history, folklore and magic also inform and inspire my practice.  I am currently working on a book Touching Witchcraft and Sorcery with the folklorist Jeremy Harte.  We have gone into the archives, into the forgotten places, to catch stories of witchcraft in tale and image.  My work is included in two upcoming exhibitions at Gallery Valid Foto in Madrid from May 8-25th Women Photographer’s Now: 12th Julia Margaret Cameron Award and the 12th Pollux Award.  In July, I will be showing a Moon inspired exhibition at Charlton House in London as part of the Moon Festival which coincides with the 50th anniversary of the Moon Landing.

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The Fool, Abbots Bromley Horn Dance, Staffordshire

All Photography © Sara Hannant
https://www.sarahannant.com/

https://www.sarahannant.com/book/

Wyrd Harvest Press: Charity Donation – Winter 2018

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The winter 2018 charity handover from the profits of Wyrd Harvest Press / Folk Horror Revival books has now been made. Congratulations to Nottinghamshire Wildlife Trust who receive £500.00 for their Save the Meadows Appeal

In thanks to our donation, we have been given the chance to name a newborn lamb in April (yes I have requested a black one) so we will be asking then (Not Now) for name suggestions and we will put a short-list to a poll on the group

Thank you for voting and Thank You especially for buying our books. We will continue to charitably donate the sales profits we receive for our books quarterly to the Wildlife Trusts, and we have more great books coming in 2019, so please continue to stock your bookshelves with our quality books with the extra bonus of helping biodiversity and natural habitats

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

New from Wyrd Harvest Press ~

Fleet by Jane Burn

jane burn

“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

Phantasms of the Floating World: Tales of Ghostly Japan

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‘Frolic in Brine: Goblins Be Thine.’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sources.
Specters, Ghosts and Sorcerors in Ukiyo-e

Ukiyo-e Ota Memorial Museum of Art 

The Toho Studios Story: A History and Complete Filmography

By Stuart Galbraith IV. Scarecrow Press, 2008

Ghosts and the Japanese: Cultural Experiences in Japanese Death Legends

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

Wandering Ghost: The Odyssey of Lafcadio Hearn

By Jonathan Cott. Kodansha International, 1992

Lafcadio Hearn and the Vision of Japan

by Carl Dawson. Johns Hopkins University Press, 1992

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

By Marriott James & Kim Newman. Carlton Books, 2010

Samhain Greetings and Book Discount

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

Use Code: TWENTY18
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Using the Discount Code here, does not affect the sum donated to charity, so help a damn fine charity by buying great books at a bargain price !!
Offer ends 1 November at 11:59 PM 🍂☀️

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21st Century Ghost Stories

FC Low ResThis astonishing anthology gathers award-winning work by contemporary short-fiction writers from around the English-speaking world, all of whom drew their inspiration from the supernatural. Each of these fine authors, whether from the U.K., the U.S., Ireland, Canada, Australia, or elsewhere, puts his or her own thought-provoking, 21st century spin on some aspect of the paranormal—there are ghosts, of course, but you’ll also find tales revolving around demons, zombies, spirits in the Voudou pantheon, out-of-body episodes, doppelgangers, shape-shifters, hallucinations, dreams, imaginary people, mythical beings, and Things You Just Can’t Explain. These 29 stories are chilling, or funny, or a bit of both, and they all will continue to turn in your imagination long after you’ve finished reading them.
Available now from ~ http://www.lulu.com/shop/paul-guernsey/21st-century-ghost-stories/paperback/product-23734410.html

Launch offer – 25% off

15% will be directly deducted from cover price – to save a further 10% Use the Code –

LULU10

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The Potatoes Have Eyes ~ A Glance into the Field ( + Discount Code)


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Presenting the  revised edition of the seminal tome Folk Horror Revival: Field Studies. A collection of essays, interviews and artwork by a host of talents exploring the weird fields of folk horror, urban wyrd and other strange edges. Contributors include Robin Hardy, Ronald Hutton, Alan Lee, Philip Pullman, Thomas Ligotti, Kim Newman, Adam Scovell, Gary Lachman, Susan Cooper and a whole host of other intriguing and vastly talented souls. An indispensable companion for all explorers of the strange cinematic, televisual, literary and folkloric realms. This edition contains numerous extra interviews and essays as well as updating some information and presented with improved design. 100% of all sales profits of this book bought in our online Lulu store are charitably donated at quarterly intervals to The Wildlife Trusts.

http://www.lulu.com/shop/folk-horror-revival/folk-horror-revival-field-studies-second-edition/paperback/product-23557533.html

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Save 10% on orders of Wyrd Harvest Press Books, plus free mail or 50% off ground shipping

Use Code: BOOKSHIP18

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Ends 6 August at 23:59

Corner of the eye … something is coming …

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What is this? … what is coming? …

Coming very soon from Wyrd Harvest Press … 21st Century Ghost Stories

An impressive anthology of new haunted fiction from a variety of award winning and upcoming writers. Edited by author Paul Guernsey and illustrated throughout by Andy Paciorek.

Available from 7th August 2018 …

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