I’ve always been fascinated by monsters. Growing up I saw television shows and read books about famous ones like Bigfoot and Nessie, and always wanted to search for them and discover the truth. That led me to a degree in psychology to learn about human cognition and perception, and a career in folklore to understand how legends and rumors spread. But I also wanted field experience, and spent time at Loch Ness, in Canadian woods said to house Sasquatch, to the Amazon, Sahara, and the jungles of Central America looking for the chupacabra. Along the way became an author, writing books including Tracking the Chupacabra, Lake Monster Mysteries, Big—If True, and Investigating Ghosts.
Among all the world’s monsters one perennial favorite is vampires.
Yes, I know they’ve been done to death (or would that be undeath?) but there’s a rich history of vampires beyond Dracula, Nosferatu, Lestat, and their legions. I’m talking about “real” vampires—or at least those people believed to be real vampires.
This is the subject of Luise White’s book Speaking with Vampires: Rumor and History in Colonial Africa.White is an anthropologist and folklorist who investigated rumors of vampires throughout East Africa. She found that many Africans told similar stories of real, actual vampires that sucked the blood out of Africans.
What I love about this book is how White takes a scholarly approach to the rumors of (alleged) real-life vampires, sometimes from their victims. Along the way we learn about colonialism, racism, and the cultural contexts in which these rumors flourish.
During the colonial period, Africans told each other terrifying rumors that Africans who worked for white colonists captured unwary residents and took their blood. In colonial Tanganyika, for example, Africans were said to be captured by these agents of colonialism and hung upside down, their throats cut so their blood drained into huge buckets. In Kampala, the police were said to abduct Africans and keep them in pits, where their blood was sucked. Luise White presents and interprets vampire stories from East and Central Africa as a way of understanding the world as the storytellers did. Using gossip and rumor…
I’ve been interested in medicine and how stories influence the decisions that people make for as long as I can remember. Watching family and friends make choices about their own healthcare was always fascinated to me and I was always curious as to why some narratives had more staying power than others. After getting my BA in history, I was lucky enough to talk to someone who suggested that I study folklore. I ended up with both a MA and PhD in folklore and became a professor who studies the intersection of folklore and how it affects the medical decisions we all make in our own lives and the lives of others.
I may be a bit biased on this one since Dr. Goldstein is one of my mentors, but this book really shows the power that narrative has when it comes to understanding illness and assessing risk.
Once Upon a Virus very clearly helps us understand why looking at disease and illness from the standpoint of the community is so important. If we want to promote any type of health behavior or change, we must adapt to the specific community instead of expecting the community to change.
Listening to these stories is crucial for public health and I really wish more people would read this book and understand that!
Once Upon a Virus explores how contemporary, or "urban," legends are indicators of culturally complex attitudes toward health and illness. Tracing the rich tradition of AIDS legends in relation to current scholarship on belief, Diane Goldstein shows how such stories not only articulate widespread perceptions of risk, health care, and health policy, they also influence official and scientific approaches to the disease and its management. Notions that appear in narratives of who gets AIDS, how and why, are indicators of broad issues involving health beliefs, concerns, and needs.
I was a child who was very dissatisfied with the idea that this world, with its rules and routines, is all there is. Sunday school filled me with a fear of hell, and heaven sounded boring, a lot of people wearing white and singing. This forced me into the world of fairy and folktales: spirits, tricksters, masquerades, elves, werecreatures, and merpeople. It was all so exciting and, more than that, comforting. The just were rewarded, and the wicked were punished within the timeframe of the story, not later when they died.
I haven't read it in twenty years, having been introduced to Tutuola's work as part of my undergrad degree. It's a book full of ghosts and the sort of mind that perceives and interacts with them. It basically epitomises the saying, 'Fools rush in where angels fear to tread,' but is the palm-wine drinkard a fool, brave, desperate, or just very, very drunk when he wanders off on his quest through the spirit world? Or is he all of the above?
This classic novel tells the phantasmagorical story of an alcoholic man and his search for his dead palm-wine tapster. As he travels through the land of the dead, he encounters a host of supernatural and often terrifying beings - among them the complete gentleman who returns his body parts to their owners and the insatiable hungry-creature. Mixing Yoruba folktales with what T. S. Eliot described as a 'creepy crawly imagination', The Palm-Wine Drinkard is regarded as the seminal work of African literature.
'Brief, thronged, grisly and bewitching.' Dylan Thomas, Observer
'Tutuola's art conceals - or rather clothes - his purpose,…
In 1662, a man is wrongly executed for signing the death warrant of Charles I. Awaiting execution, he asks to speak with a priest, to whom he declares a curse on the village that betrayed him. The priest responds with a counter-curse, leaving just one option to nullify it.
Over four centuries later, Faith and James move to the country to start a new life and a family. They discover their village lives under the curse uttered by the hanged man. Could their arrival be connected? They fear their choice of new home is no coincidence. Unexplained events hint at threats or warnings to leave. They become convinced the village remains cursed despite their friends’ denials. Who can they trust, and who are potential enemies?
In 1660, a man is wrongly executed for signing the death warrant of Charles I. While awaiting execution, he asks to speak with a priest, to whom he declares a curse on the village that betrayed him. The priest responds with a counter-curse, leaving just one option to nullify it. Over four centuries later, Faith and James move to the country to start a new life and a family. They learn that their village lives under the curse uttered by the hanged man. Could their arrival be connected? Faith and James fear that their choice of a new home is…
I’ve published eleven classic-style space opera novels, a novella, and many short stories. Before becoming a writer, I spent twenty years in US Air Force in space operations; even though my books are light on science, I really was a rocket scientist! Plus, I’ve read science fiction since I was barely a teen, starting with Heinlein and McCaffery, and am always looking for my next favorite author!
Diana Smythe is a survivor, and she’ll do almost anything to keep her dream of flying to the stars alive. But she won’t betray her friends, or give into bullies, which gets her into ever-deeper trouble. Good thing she’s super smart!
Star Compass is an excellent combination of steampunk and sci-fi. Anthea is a wonderful writer, her characters strong but flawed, and her worldbuilding amazing, combining Victorian mores with modern space flight.
Steampunk meets Space Opera in this captivating tale of adventure and romance from USA Today bestseller Anthea Sharp.
Diana Smythe was a child of the nobility… once. Now the streetrat known as Diver, she spends her days picking pockets, and her nights gazing at the galaxy overhead, dreaming of the day she’ll escape Earth for a brighter future among the stars.
Derek Byrne polices the grimy streets around the Southampton Spaceport, trying to keep the gangs in line and the gutters clear of riffraff. When his path crosses Diana’s, he sees beyond her masculine disguise and catches a glimpse of…
I’m a kid that grew up during the Blockbuster era. I spent a lot of time in the horror and sci-fi section, going aisle by aisle renting everything they had. Monsters were like vital nutrients to me, but it wasn’t just the monsters themselves that I found appealing. It was what they taught us about ourselves. So many good stories use monsters as a tool to tell interesting and poignant stories about humanity. Doesn’t matter if it’s a walking undead creature or an otherwordly cosmic destroyer, monsters reflect people, and I try to embody that sentiment in my own work.
HP Lovecraft created a great cast of cosmic characters, but it’s debatable that other writers have done a better job utilizing them. Cthulhu Armageddon takes Lovecraftian horror and puts an adventure spin on it. The real highlight is the book’s main character, who has to navigate this post-apocalyptic world and the various creatures within it while coming to terms with his own insecurities.
“Under an alien sky where gods of eldritch matter rule, the only truth is revenge.”
CTHULHU ARMAGEDDON is the story of a world 100 years past the rise of the Old Ones which has been reduced to a giant monster-filled desert and pockets of human survivors (along with Deep Ones, ghouls, and other “talking” monsters).
John Henry Booth is a ranger of one of the largest remaining city-states when he’s exiled for his group’s massacre and suspicion he’s “tainted.” Escaping with a doctor who killed her husband, John travels across the Earth’s blasted alien ruins to seek the life of…
It was an epic fantasy tale with interesting, well-rounded characters, an engaging lore, and packed full of imagination.
The presentation is top notch, featuring gorgeous artwork, maps of its fictional regions, and a helpful addendum that helps readers pronounce the name and learn more about the locations, Gods, and the lore of the world. The book is very easy to digest and the author does a wonderful job of fleshing out this fictional fantasy world in a concise and imaginative way.
There’s a definite sense that a larger conflict is looming, one which the three main characters will play a central role, and the book explores how the characters react to being swept up by their unavoidable fates. The author also packs the book with action, intrigue, and dramatic moments that made it a fun and constantly appealing read.
Ever since I can remember, I have been fascinated by scary movies, creature features, and books that tell tales of the strange and supernatural. Years later, my own books explored those things that scare us, from monsters of the deep and the ways we die to the mythology of blood. Research for those books led me into realms that explained why we fear the things we do. Many of those fears are found in horror novels, which provide an endless source of fright, release, and entertainment within their haunting pages. I can’t think of any other genre of writing that takes its readers on such a joyously terrifying ride.
No writer creates a compelling sense of dread better than H.P. Lovecraft. His stories instantly immerse you in whatever world he’s conjuring, and I think his writing reached its peak in this book.
His narrator descends into a creepy world of “others” whom he senses want to harm him (in his personal life, Lovecraft was notoriously disdainful of “others”). I was willingly dragged along with Lovecraft’s desperate narrator as he raced through town, hotel rooms, and ultimately into a terrifying gathering of the townspeople.
Nearly a century after its publication, I consider it to be one of the most timeless and striking pieces of horror ever created.
During the winter of 1927-28 officials of the Federal government made a strange and secret investigation of certain conditions in the ancient Massachusetts seaport of Innsmouth. The public first learned of it in February, when a vast series of raids and arrests occurred, followed by the deliberate burning and dynamiting-under suitable precautions-of an enormous number of crumbling, worm-eaten, and supposedly empty houses along the abandoned waterfront.
As a child, I spent summers looking for adders on the Common and winters walking through snowstorms pretending to be a Hobbit in Tolkien's Middle Earth. My travels and studies taught me the importance of respecting different cultures and our planet. Glasgow Libraries gave me my first storytelling work in 1992, and I have a Master's degree in Scottish Folklore. I live in Scotland, sharing stories through writing and storytelling. Having collected hundreds of traditional folktales about our ancestors' wisdom and folly, I co-authored my first book, Dancing With Trees, Eco-Tales from the British Isles, to reflect our need to understand nature's wisdom and help us live sustainably on Earth.
This book is like a plump pie filled with seasonal treats, one delicious slice for every month of the year.
Rooted in Somerset, England, Maudsley skilfully presents folklore, beliefs, and happenings that pay homage to Britain and Ireland's nature, rural culture, and changing seasons. He carefully includes folk customs and stories from Wales, Scotland, and Ireland.
However, this book's natural juice and joy lie in Maudsley's knowledge of rural traditions and stories he shares in his work with Common Ground, an environmental and community organisation based in England. There are rhymes, songs, and food & drink recipes, all intricately woven into each month, season, and local harvest.
Everyone interested in living harmoniously with the natural world will enjoy this celebratory description of calendar customs and living traditions.
Telling the Seasons takes us on a journey through the twelve months of the year with stories, customs and celebrations. Drawing on the changing patterns of nature and the rich tapestry of folklore from the British Isles, it is a colourful guide into how and why we continue to celebrate the seasons.
Here are magical myths of the sun and moon, earthy tales of walking stones and talking trees and lively legends of the spirits of each season. Original drawings, sayings, songs, recipes and rhymes, combine into a 'spell-book' of the seasons. Martin Maudsley tells tales around the year to…
I have always loved cats and have lived with many: Princess Sheba Darling, Precious Sammy Dearest, Couscous Kerouac, P.C. (Perfect Cat), Neshama, and Mitzi. Each cat has a distinct personality and quickly taught me how things were going to go: some cats are lap cats, some are not. Some cats are finicky, some cats will eat anything. Some cats slept on my pillow, some cats prowled—and yowled—all night long. In addition to cats, I have always loved picture books and have written many about cats including: Cats, Cats, Cats!Welcoming Elijah: A Passover Tale With A Tail, A-B-C Cats, 1-2-3 Cats, and The Best Cat In The World.
I have read this book at least a dozen times. First published in 1930, it has become a classic, winning the Newbery Medal (the Oscar of children’s books!) and other awards. The story, which takes place in Japan, is about a poor, humble artist, who is working on an important painting. Though he has very little money and cannot afford another mouth to feed, his housekeeper brings a little white cat home from the market. At first, the artist is disgruntled, but nevertheless, the cat becomes known as Good Fortune, and indeed, through an act of selflessness, the cat does bring good fortune to the artist. The writing style is gorgeous, and the book is an absolute pleasure to read. Very soothing and meditative. No wonder it’s become a classic!
This timeless fable has been a classic since its first publication in 1930, and this beautifully reillustrated edition brings the magic and wonder of the tale to a new generation of readers.
In ancient Japan, a struggling artist is angered when his housekeeper brings home a tiny white cat he can barely afford to feed. But when the village’s head priest commissions a painting of the Buddha for a healthy sum, the artist softens toward the animal he believes has brought him luck.
According to legend, the proud and haughty cat was denied the Buddha’s blessing…
I’m a New Englander by birth, a Canadian by circumstance, and a Nova Scotian by choice. For as long as I can remember, I’ve told stories, first to my little sister—a captive audience—then to my children, then at my book readings, and now on my podcast, Kate and Friends, which I’m lucky enough to record with two professional musicians. For me, the ultimate test of a story is whether it can be told without visual aids. While I love picture books, and the way an artist can deepen a child’s experience of a story, I gravitate to satisfying, stand-alone tales with a good twist. They’re difficult to write, easy to remember, and great fun to tell!
A deft, charming re-telling of a Jewish folk tale, and winner of the Ruth Schwartz Award. In this gentle story, young Joseph grows up in a shtetl in a warm and loving home. His grandfather, a tailor, makes him a beautiful blanket at birth. As he grows, the blanket becomes worn, but Grandpa can always rejig the fabric into something new. At last, however, the sad day arrives when nothing is left of the blanket… until Joseph realizes that what’s left is a wonderful story.
I nominate this book as a storyteller’s delight because of its comforting, cyclical nature, and surprise ending. While Gilman’s glowing pictures augment the story perfectly, with their warm, humorous depiction of family life, the story can easily be memorized, told, and enjoyed when no pictures are available.
Phoebe Gilman's beloved classic celebrates its 20th anniversary!
Joseph's grandfather made him a beautiful blanket when he was a baby, but now it's frazzled and worn, and Joseph's mother says it is time to throw it out. Joseph doesn't want to part with his special blanket, and he's sure that his grandfather can fix it. Sure enough, Grandfather miraculously alters the blanket into useful items again and again. But when Joseph loses the final item, even Grandfather can't make something from nothing. But maybe Joseph can?
Based on the Yiddish folktale "Joseph's overcoat," Phoebe Gilman's gorgeous artwork charts the transformation…
