On Folk Horror

Folk horror is something of a retrospective tag for a brand of (mostly British) horror.  Although it is mostly affiliated with a clawful of early 70s horror films, it was 2010 before British screenwriter and horror aficionado Mark Gatiss popularised the term in referring to a trifecta of films with an emphasis on witchcraft, superstition and the British landscape.  The term has gained notoriety since then. Many modern writers, filmmakers and musicians have made a conscious effort to tap its rich aesthetic.  I’m one of those writers.

Folk horror really speaks to me.  Maybe it’s because I grew up in a small English village. Maybe it’s because I love nothing more than strolling through the countryside and letting my imagination run wild.  But I find rural English horror pleases me on a good few levels, and I enjoyed throwing my own hat in the ring with my most recent book Harvest House.  Here are some of my thoughts on why I like folk horror. Why I find it horrifying. And there are some signposts to exploring folk horror for yourselves too.

Witchfinder General, The Blood on Satan’s Claw and The Wicker Man share a preoccupation with British folklore, superstition, the landscape and evil.
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How to Talk to Musicians at Open Mic

I stopped by my favourite pub a few weeks ago for an after-work pint or two.  Halfway through a glass of Downland’s I noticed all the new arrivals turning up with guitars.  Some customers had ukuleles and one had a banjo.  Halfway through my third pint I had my first go on a cajon.  I loved it.  Now I want a cajon*.

I’ve been to a few open mic nights since, chipping in on a borrowed cajon and sometimes on full drum kit.  It’s good fun; you get to meet like-minded people and see some proper talent.  But there are some rules to stick to if you fancy giving open mic a go.  Here’s a useful guide on…

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Why I Won’t Be Watching American Gods

I first read Neil Gaiman’s American Gods in my late teens.  It was winter time and I fitted it in between college classes and bus stops and it struck such a chord with me.  The book is full to bursting with rich imagination, and images from that first reading that have stuck with me ever since.  Which is why I won’t be watching the new TV adaptation of the book.

Books aren’t necessarily better

I’m not the kind of person to say the book is always better than the film (although it often is).  In fact, I’ll go out on a limb and say I think The Shining is a better film than it was a book, despite Stephen King being one of my favourite authors.  But books and films and television series are different media and connect with you in different ways.  Obviously, screen adaptations are more visual.  A book can throw pages of description at you but it still relies on its reader interpreting that information and forming an image from it.  If it’s on a screen, well, that’s the image that will wind up in your mind’s eye.

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On Stephen King’s Writing Style

I just enjoyed a city break to Budapest. It was fantastic; great sights, great bars, great beers. I recommend it. But for my two nights in Hungary I was dogged by a monster, a monster that stalked me, never farther away than the snatch of its claw. It got its teeth into me while I waited for my flight at Gatwick Airport and wouldn’t let go until I defeated it. The monster’s name was Cujo. The reason it gripped was due to Stephen King’s writing style

Cujo is Stephen King’s seventh novel. Ostensibly, it’s about a good-natured St Bernard, the titular Cujo, that is infected by the scratch of a rabid bat. But it’s also about the two families that Cuje’s violent, rabid spree affects. It’s gripping; as gripping as anything King has written. I could barely put it down, even with all the excitement of my holiday. I finished it after my first night in Hungary.

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