I grew up in an isolated rural pub in England. My love of folk horror was born of a strong nostalgia for that time and it has fed into both my writing and my reading. I understood isolation, small communities, the effect of strangers, as well as the sense of ‘otherness’ in the atmosphere of the countryside – the calm before the storm, the liminal twilight. It also meant that I could tell when a writer had captured the ‘essence’ of folk horror. When the author weaves a story between the landscape and man, blends traditions and mythology – they take me to that place I know.
Welcome to the Weald. The Five Turns of the Wheel has begun. With each turn, blood will be spilled, and sacrifices will be made. Pacts will be made…and broken. Will you join the Dance?
In the Weald, the time has come for the Five Turns of the Wheel. Tommy, Betty, and Fiddler, the sons of Hweol, Lord of Umbra, have arrived to oversee the sacred rituals … rituals brimming with sacrifice and dripping with blood. Megan Wheelborn, daughter of Tommy, hatches a desperate plan to free the people of the Weald from the bloody and cruel grip of Umbra, and put an end to its murderous rituals. But success will require sacrifice and blood as well. Will Megan be able to pay the price?
Think folk horror and you think rural setting, pretty cottages, white picket fences, and lurking ritual. Harvest Home is a folk horror classic and hits these expectations spot on.
A city couple escapes to the village of Cornwall Coombe to give their daughter a better quality of life. Everything is perfect until the husband discovers they were welcomed for a very specific reason. This discovery, becoming more evident as the harvest ritual approaches, leaves him in fear of losing his life and his family.
I loved this gradual teasing out of horror, subtle nuances that build to the awful climax. The ending is chilling, contrasting so sharply as it does against the background of a rural paradise, giving me one of those ‘oh!’ moments.
A family flees the crime-ridden city-and finds something worse-in "a brilliantly imagined horror story" by the New York Times-bestselling author (The Boston Globe).
After watching his asthmatic daughter suffer in the foul city air, Theodore Constantine decides to get back to the land. When he and his wife search New England for the perfect nineteenth-century home, they find no township more charming, no countryside more idyllic than the farming village of Cornwall Coombe. Here they begin a new life: simple, pure, close to nature-and ultimately more terrifying than Manhattan's darkest alley.
When the Constantines win the friendship of the town…
I love the film The Wicker Man (released in 1973) and was delighted to discover this novelisation from its director and screenwriter.
Full of pagan religion and ritual sacrifice on remote Summerisle, it is wonderfully creepy. Nor is it a flat retelling of the film but an expansion of the character of poor Sergeant Howie. Set up by Lord Summerisle to be the May sacrifice, he is tormented and abused as he searches for a missing child and on film is shown as priggish and cold.
Yet in the book, he is brave, vulnerable, doggedly trying to do the right thing in the face of adversity. He also performs a touchingly heroic act at the end of the book even as he suffered - I admit to shedding a tear.
First published in 1978, five years after the release of the classic horror film from which it is adapted, The Wicker Man by director Robin Hardy and screenwriter Anthony Shaffer, is a gripping horror classic.
A novelization of the haunting Anthony Shaffer script, which drew from David Pinner's Ritual, it is the tale of Highlands policeman, Police Sergeant Neil Howie, on the trail of a missing girl being lured to the remote Scottish island of Summerisle. As May Day approaches, strange, magical, shamanistic and erotic events erupt around him. He is convinced that the girl has been abducted for human…
I have a real thing about needing the setting to be pretty much a character in itself in the folk horror I read.
For me, it is that which brings out the atmosphere, the sense of otherworldliness, critical to such stories. Starve Acre, a haunting tragedy, set in bleak moorland offers no rural idyll. The desolate setting perfectly mirrors the disintegrating marriage of a couple who are trying come to terms with the loss of their young son.
Whilst the wife turns to the spirit world, the husband researches a legend, uncovering the sinister story of the demonic Jack Grey as he does so. Bringing the legend to life and turning it into delusion, culminates in one of the most disturbing final scenes I’ve come across, certainly gave me chills.
The worst thing possible has happened. Richard and Juliette Willoughby's son, Ewan, has died suddenly at the age of five. Starve Acre, their house by the moors, was to be full of life, but is now a haunted place.
Juliette, convinced Ewan still lives there in some form, seeks the help of the Beacons, a seemingly benevolent group of occultists. Richard, to try and keep the boy out of his mind, has turned his attention to the field opposite the house, where he patiently digs the barren dirt in search of a legendary oak tree.
I have a real weakness for ‘doorstopper’ books. Mighty tomes in which you can lose yourself and this is a folk horror that allows you to do just that.
Klein’s The Ceremonies takes place in an isolated farming community where their religion is central to their way of life. Into this mix you bring two outsiders whose arrival trigger the attempts of the Old One to bring back his supernatural master.
Again, nature and setting are at the forefront of the story, adding to the atmosphere which, combined with certain demonic characters, brings in that sense of otherworldliness and isolation. It is an utterly absorbing read and of the sort of length I like to read when I want to disappear.
Graduate student Jeremy Freirs and aspiring dancer Carol Conklin, summering in the New Jersey village of Gilead, are trapped in a nightmare of terror, with an evil force emanating from a place once called Maquineanok, the Place of Burning
Coy Hall is a newer writer on the scene but the work he has produced so far has been of exceptional quality.
This particular book contains short stories which interlink yet standalone. Hall’sGrimoire of the Four Impostershas its folk horror set against the historical backdrop of the 16th and 17th centuries. I freely admit to being a history fan and seeing this mixed with a favourite subgenre is a delight.
The stories are dark and menacing, vibrant with character, and melding folklore and the occult into a showcase of storytelling. They show that folk horror can be done differently.
Two women, a century apart, seek to rebuild their lives after leaving their homelands. Arriving in tropical Singapore, they find romance, but also find they haven’t left behind the dangers that caused them to flee.
Haunted by the specter of terrorism after 9/11, Aislinn Givens leaves her New York career and joins her husband in Southeast Asia when he takes a job there. She acquires several paintings by a colonial-era British artist that she believes are a warning.
The artist, Elizabeth Pennington, tells her own tumultuous story through diary entries that end when World War I reaches the colony with catastrophic results. In the present, Aislinn and her husband learn that terrorism takes many shapes when they are ensnared by local political upheaval and corruption.
"Aislinn Givens leaves a settled life in Manhattan for an unsettled life in Singapore. That painting radiates mystery and longing. So does Clifford Garstang's vivid and simmering novel, The Last Bird of Paradise." –John Dalton, author of Heaven Lake and The Inverted Forest
Two women, nearly a century apart, seek to rebuild their lives when they reluctantly leave their homelands. Arriving in Singapore, they find romance in a tropical paradise, but also find they haven't left behind the dangers that caused them to flee.
In the aftermath of 9/11 and haunted by the specter of terrorism, Aislinn Givens leaves her…
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