The Open Graves, Open Minds Project began by unearthing depictions of the vampire and the undead in literature, art, and other media, then embraced werewolves (and representations of wolves and wild children), fairies, and other supernatural beings and their worlds. The Project extends to all narratives of the fantastic, the folkloric, and the magical, emphasising that sense of Gothic as enchantment rather than simply horror. Through this, OGOM is articulating an ethical Gothic, cultivating moral agency and creating empathy for the marginalised, monstrous or othered, including the disenchanted natural world.
We are very saddened to hear of the death of August Sedgwick, who wrote as Marcus Sedgwick, on 15 November.
August was a brilliant writer who wrote novels for children, young adults, and adults (though he wasn’t fond of the ‘YA’ classification and, like many novels with YA protagonists, his intelligent and deeply engaging books have value for readers beyond this group). His fictions are frequently historical narratives, often tinged with the fantastic or Gothic. I would single out as personal favourites White Crow (2010) and Midwinterblood (2011), but they are all marvellous. August was nominated for and awarded many prestigious literary prizes. He also wrote a dystopian graphic novel (Dark Satanic Mills (2013), with his brother Julian), a picture book, illustrated a folklore collection, reviewed books for the Guardian, published guides on coping with chronic illness, and wrote literary essays (of which more below).
working with OGOM and the team around Dr Sam George has encouraged me to voyage more deeply into the relationship between folklore and fiction, and I can see the result in all my work. It has been consistently inspired, enriched and informed by it . . . I strongly see a connection between this work with OGOM and a book I wrote some time later, Midwinterblood, perhaps the book for which I am best known. The Monsters We Deserve was very influenced by our discussions and my thinking about gothic monsters. One of the central questions . . . was inspired by OGOM!!.
(Midwinterblood won the Michael L. Printz Award, America’s most prestigious prize for writing for Young Adults).
We came to know August as a good friend. He was intelligent, erudite, and engrossing in conversation, and a sensitive and amusing companion. His generosity to other writers is well testified to on social media. A lovely man. His passing is a terrible loss.
(Sam will be posting a fuller tribute with her own personal reflections later.)
We conceived ‘Breaking Through to Faery’ to create a sense of wonder in the everyday and to re-enchant the local landscape after the confines of lockdown and the pandemic. It was developed around the themes of folklore, fungi, enchantment and the Gothic and it celebrated a unique collaboration between the Open Graves, Open Minds research group (OGOM) at the University of Hertfordshire and the newly launched Centre for Folklore, Myth and Magic in Todmorden, West Yorkshire.
Todmorden is an ex-mill town in Yorkshire; it is a place of folklore and natural beauty. It is hoped that our attendees were inspired by their journey into the botanical gothic and that they will discover more about the natural environment and its folklore. We would like our theme of re-enchantment to combat the sense of ennui many people feel as a result of the pandemic. We hope to foster creativity, generate excitement, and reawaken a sense of awe and wonder about life in regions such the Calder Valley, celebrating its folkloric landscapes and gothic possibilities.
This is the moment when I found fairyland hidden in a rotten tree stump; it really exemplifies the sense of enchantment about the natural world that we wanted to capture!
The event was funded by the Being Human Festival. Being Human is the UK’s only national festival of the humanities. A celebration of humanities research through public engagement, it is led by the School of Advanced Study at the University of London, the UK’s national centre for the pursuit, support and promotion of research in the humanities. The festival works in partnership with the Arts and Humanities Research Council and the British Academy to support humanities public engagement across the UK.
The theme of this year’s festival was ‘Breakthroughs’. We interpreted this as existing at the intersection of folklore and the Gothic. Fungal networks beneath the ground can break through into the seen world as magical fairy rings; we saw our event as similarly enchanting and transforming, connecting our research to the communities around it.
Attendees took part in a range of activities and were introduced to a new concept of botanical gothic:
Family Craft Activity: ‘Build a Mushroom Forest in Papier Mache’
With lead-in activity involving children from Shade Primary School, led by Holly Elsdon, exploring storytelling on the theme of fungi and enchantment and introducing the idea of foraging
Gothic Flash Fiction Writing
40-50 words on the theme of breakthroughs, or fungi, fairy enchantment and the Gothic. Led by Sam George and Bill Hughes from OGOM Project (to be published on the OGOM blog).
Here are some sample entries:
Silently, covertly, we spring up in the gloom to share our secret commonwealth. Nobody sees us or understands us, except the fairies, fauns and elves, and those uncanny ones clandestinely hovering betwixt humans and angels.
Arcane messages surge along the silver mycelial fibres underground. Above, we are surrounded by these alien consumers of the dead, this Faery Circle, like fungal dolmens. We should never have strayed inside. Yet now we break through to enchanted communion with another world, beyond the living.
Fungi Identification Activity
With Roze from Thyme for Tiffin.
Tea and Fungi-Themed Cakes
Made by Thyme for Tiffin from locally sourced fungi and flowers.
Exhibition: Photographing Fungi
By Holly Elsdon (with words by Clare Slack).
Illustrated Talk: Journeying into the Botanical Gothic
With Sam George, Convenor of the OGOM Project
There were some fantastic mushroom-inspired crafts and displays throughout the centre on the day too. It was a real fungi feast for the eyes! The fungi exhibition is still open so do visit it and you can pop into the Centre and see all the wonderful toadstool-inspired creations too.
If you attended, we do hope you enjoyed it. We will be gathering our feedback shortly and we’re looking forward to getting your responses. Thank you to everyone who took part. Special thanks go to Holly Elsdon at the Centre for Folklore, Myth and Magic for her energy and creativity and to Dr Bill Hughes of OGOM for his work on the admin and his warm support on the day. Gothtastic!
Many thanks to all the contributors and to Heather Robbins and Paul Quinn at Gramarye. We’ve really enjoyed collaborating with the Chichester Centre, whose research interests overlap with those of OGOM, and we look forward to future cooperation. We are also aiming at compiling another special journal issue and an edited collection in book form of further research from the conference in 2023.
22 October: Sam will be talking on ‘Werewolves and the Gothic: In Search of the Spectre Wolf’ at 1.30 on 22nd October at Brompton Cemetery, London. Tickets are still available and the event includes gin cocktails in a fabulously Gothic cemetery setting! This is part of the London Month of the Dead Festival.
4-5 November: Sam and I are participating in the online conference Recovering the Vampire: Degeneration to Regeneration, organised by Dr Madeline Potter and Dr Laura Eastlake for Edge Hill University. Sam’s paper is ‘Folkloric vampire at the crossroads: Superstition, recovery, and redemption’ and my paper is ‘Regenerating genre and society through YA Gothic dystopia in Holly Black’s The Coldest Girl in Coldtown’. This is free to attend (though a donation to assist early career scholars is welcomed); Registration will remain open until 24 October.
Mermaids (and other fabulous marine creatures such as sirens and selkies) have long been favourite topics with us at OGOM. Three’s something appealing about their ambiguous positioning between human and animal, aquatic and land-dwelling. We’ve posted articles on the blog before (just search for ‘mermaids’ etc.).
I’ve also been doing research into literary manifestations of the mermaid, particularly reworkings of Hans Christian Andersen’s ‘The Little Mermaid’ in YA fantasy. I’ll post the fruits of this research on here at some point. In the meantime, these past posts point to various resources on the mermaid figure: ‘Mermaids: ballads, novels, films‘ and ”Merpeople and Monstrous Lovers‘. There’s also the beginnings of a Bibliography here; we’re working on making this much more comprehensive and having at as a resource page in the same way we’ve done vampires.
In the meantime, here’s an excellent article from The Conversation by Michelle Smith (Senior Lecturer in Literary Studies, Monash University) on the current controversy over the depiction of the mermaid in Disney’s new film, The Little Mermaid:
The Little Mermaid has always been a story about exclusion – and its author was an outsider
Disney’s forthcoming live-action adaptation of The Little Mermaid has sparked an astonishing backlash. The trailer for the 2023 film was met with millions of dislikes on YouTube, seemingly because the mermaid is played by Halle Bailey, a Black actress.
The 1989 animated Disney film, on which the upcoming film is based, featured a red-headed mermaid named Ariel (and a singing crab with a Jamaican accent). The implication of much of the recent criticism is that a Black mermaid is not “authentic” to The Little Mermaid fairy tale.
But fairy tales are continually retold in new ways over time.
Hans Christian Andersen’s literary fairy tale is radically different to the 1989 film. He was a bisexual social outsider who struggled to express his desires. And his The Little Mermaid was not the happily-ever-after romance Disney fans are familiar with, but a tale of torturous unrequited love – which he worked on while a man he was infatuated with was getting married. https://www.youtube.com/embed/Qp4yfmOOv6Q?wmode=transparent&start=0 Black girls react joyfully to The Little Mermaid trailer.
The first Cinderella was Chinese
Outrage over fairy tales crossing cultural and racial boundaries is misguided. Variations of most popular tales are found in multiple cultures, and familiar tale types have a history of circling the globe. The way they’re told has adapted, too: from being shared orally, to literary versions (from the 17th century), and now film, television and games (from the 20th century).
Indeed, the very reason fairy tales have endured is because they are continually retold in new ways, to suit changing audiences and cultural norms.
The first recorded Cinderella variant, for example, is Yeh-Hsien, from China. It was first published around 850; while Charles Perrault’s Cinderella, which influenced most adaptations we know today, was published in 1697. Yeh-Hsien does not have the aid of a fairy godmother; instead, she wishes on the bones of a fish. If fairy tales should only “belong” to the first culture in which they were ever told or written, then it would be logical to suggest we should only depict Cinderella as Chinese. https://www.youtube.com/embed/xpacm4ET-Cs?wmode=transparent&start=0 The story of Yeh-Hsien is the first recorded variant of Cinderella.
Hans Christian Andersen’s The Little Mermaid
Disney’s animated adaptations, beginning with Snow White in 1937, have come to define our cultural understanding of fairy tales. It’s one reason why we’ve lost our cultural awareness of the diverse origins and traditions surrounding these tales. And these films, aimed at a family audience, sanitise earlier fairy tale variants – which were often more gruesome and disturbing than their Disney adaptations. https://www.youtube.com/embed/GC_mV1IpjWA?wmode=transparent&start=0 The story of Disney’s Little Mermaid, Ariel, is very different from Hans Christian Andersen’s original.
Unlike the Disney films, Andersen’s The Little Mermaid is a tragic story of suffering and extreme sacrifice. P.L. Travers, the author of Mary Poppins, wrote about her dislike of the mermaid’s protracted agony and found Andersen’s “tortures, disguised as piety” to be “demoralizing”.
Many of Andersen’s protagonists are small and delicate figures who arouse our sympathy. This frailty can be due to being poor and uncared for, as in The Little Match Girl. Or it can result from characters who are unable to move without difficulty. The tiny Thumbelina must be carried from one location to another. And the Little Mermaid walks with the sensation of metal blades piercing her feet with every step.
The Little Mermaid is also a prime example of Andersen’s focus on female sacrifice and suffering. For a start, she has her tongue cut out by the sea witch and is made mute. And she maintains her delicate femininity with her “lovely, floating” walk on her hard-won human legs, despite the severe pain that is the cost of her bargain.
The mermaid saves the Prince on two occasions. First, she risks her life to rescue him from a shipwreck. Andersen’s fairy tale is not a love story, however, because the Prince never romantically desires the mermaid. He is impressed by her devotion but treats the mermaid like an animal or a child. He even gives her “permission to sleep on a velvet cushion at his door”.
The ultimate self-sacrifice of the Little Mermaid is evident when the Prince marries another woman and the mermaid holds the train of her wedding dress, while thinking only “of her death and of all she had lost in this world”.
The sea witch had promised that if the mermaid could make the prince fall in love with her, she would gain an immortal soul. If not, she would die of a broken heart on the first day after his marriage to someone else – and become sea foam on the waves. When she is faced with the choice to kill the Prince and rejoin her family in her mermaid form, she sacrifices her own life instead.
Andersen as outsider
Andersen’s sad personal life unavoidably influences how his stories of downtrodden and pitiful characters are interpreted. In the case of the Little Mermaid, there is a close connection between the writing of the story and Andersen’s own feelings of isolation and rejection.
Andersen was a social outsider who never married – and potentially never had sex. He did become infatuated with both men and women and is therefore understood as bisexual. Yet he struggled to express his desires, an issue related to a series of complex psychological problems.
One of the men Andersen loved was his friend Edvard Collin, who did not return Andersen’s feelings. Biographer Jackie Wullschläger notes that The Little Mermaid was written “at the height of Andersen’s obsession with and renunciation of Edvard Collin”. When Collin’s marriage to a woman was held in August of 1836, Andersen intentionally remained on the Danish island of Funen in order to avoid the wedding. There, he continued to work on The Little Mermaid.
It is possible to view the Little Mermaid failing to gain an eternal soul through marriage to the Prince as Andersen rejecting the idea that immortality must depend on love being reciprocated. As Wullschläger suggests, Andersen likely equated himself, a bisexual, with the mermaid’s understanding of herself as a different species to humans.
Andersen wrote that he deliberately avoided the convention found in other mermaid fiction, such as Friedrich de la Motte Fouqué’s Undine (1811), in which human love enables the acquisition of a soul:
I’m sure that’s wrong! […] I won’t accept that sort of thing in this world. I have permitted my mermaid to follow a more natural, more divine path.
Andersen’s tales frequently promote his Christian religious ethics. The path to salvation with God that Andersen maps often entails a cheerful embrace of pain, suffering, or humiliation. Maria Tatar comments that Andersen’s protagonists embrace death “joyfully”. They “reproach themselves for their sins and endorse piety, humility, passivity, and a host of other ‘virtues’ designed to promote subservient behaviour”.
Most of Andersen’s protagonists are female. Fairy tales in the 19th century, such as those of the Brothers Grimm, commonly sought to direct the behaviour and morality of girls. In the case of the Little Mermaid, her harsh treatment and ultimate fate can be understood as punishment for her sexual curiosity in pursuing the Prince. It’s also a caution against attempting to leave the undersea home where she belongs.
The conclusion of Andersen’s tale transforms the Little Mermaid into sea foam and then a “daughter of the air” who may gain a soul after 300 years of compassionate, self-sacrificial behaviour. The moral educational function of fairy tales is especially evident in this ending. Child readers are informed their own good acts will shorten the length of time the Little Mermaid (and the other daughters of the air) must wait by one year, while bad acts will lengthen their wait.
Diversifying and adapting fairy tales
Disney’s original, animated The Little Mermaid departs radically from Hans Christian Andersen’s published fairy tale. Some of these changes reflect developments in ideas about the purpose of stories of children. Young characters undergoing extreme self-sacrifice and unhappy endings now rarely appear in stories for children.
Disney’s transformation of a story of salvation and religious devotion into a straightforward romance is but one example of how fairy tales lend themselves to retelling in new contexts. The live-action adaptation starring Halle Bailey, which seeks to make children of colour feel represented in fairy tales, is one more iteration of the story.
This attempt to diversify fairy-tale adaptations builds on the queer history of The Little Mermaid. The story is already understood as having parallels with Andersen’s bisexuality – and the experience of transgender people. The most important UK organisation for supporting transgender, non-binary and gender-diverse young people, for example, is called Mermaids.
It’s unsurprising that outsiders of all kinds connect with a story about a mermaid who cannot fit in the human world she desperately wishes to belong to. Whether that’s a beloved author in 19th-century Denmark, or an African American girl today.
5–6pm (BST), 11 October 2022, Sir Victor Blank Lecture Theatre, Weston Library, Oxford
Scholars have long lamented the scant records of oral storytelling in England, compared to the riches harvested from Scotland, Denmark or Japan. How do you retrieve a lost tradition? It turns out the English folktale tradition is full of weirdness and wonder—a mirror to ourselves.
Neil Philip and Elizabeth Garner share the development of their new collections of old stories: The Watkins Book of English Folktales and Lost & Found. Their talks will be followed by a discussion exploring the process of recording or rewriting tales, and the crossover between scholarship and creative interpretation.
University of Dundee, 29-31 August 2023. Deadline: 31 January 2023
The year 2023 marks the bicentenary of both Ann Radcliffe’s death and two major publications for Mary Shelley: the first edition of Valperga and the second edition of Frankenstein,which now bore her name as author. The Gothic Women Project showcases exciting new strands of research on women’s writing in the Gothic mode, focusing on underappreciated texts by major authors as well as works by marginalised figures. Building on our successful online seminar series, this conference brings scholars into conversation with creative writers, artists, and heritage professionals. We aim to examine the different ways in which the Gothic raises questions of self-definition in a time of crisis, to explore the diversity of women’s Gothic writing in the Romantic period, and to celebrate the afterlives and legacies of this work through the centuries.
16-17 November 2022, University of Bielsko-Biała, Poland. Deadline: 15 October 2022
Klaus Nürnberger, an expert in the evolution of ideas, sees the recurring manifestations of the monstrous in different cultures as units of meaning travelling forward in time, and in his seminal seven theses on monster culture, Jeffrey Jerome Cohen makes a complementary claim, succinctly reminding us that monsters are inevitably manifestations of the historical circumstances that spawn them: “The monstrous body is pure culture.” After all, the very etymology of the word monster (“that which reveals”, “that which warns”) encourages treating the monstrous as a text of culture par excellence. This is why our conference invites scholars from various fields to explore the possibilities of reading the terror of our monstrous times as symptoms of what has been hiding beneath the shiny surfaces of our culture.
University of Warwick, 15-16th December 2022. Deadline: 17 October 2022
Julia Briggs writes that ‘The telling of tales around the fireside makes explicit a particular aspect of the ghost story which depends upon a tension between the cosy familiar world of life (associated with Heim and heimisch – home and the domestic) and the mysterious and unknowable world of death (unheimlich, or uncanny)’ (180-1), inviting us to think about the spaces and places of Winter Gothic; often juxtaposed against the chilling and deadly atmosphere and dark nights of the “outside” which the narrator of the “Fireside Horrors” piece insists make the conjunction of tale of terror and the winter period so ideal. In fact, many other Gothic works use that setting of snow, ice, and long shadowy nights outside of the Christmas period as they explore the horrors hidden in isolated arctic landscapes [. . .] Yet, what happens to, and what does Winter/Christmas Gothic mean, in a global context and in regions where that season is hot and dry? And so, we also invite pieces that challenge the traditional connections.
28-30 October 2022, Dorchester Town Hall in the Corn Exchange Building.
The rural idyll of Thomas Hardy’s Wessex does not immediately conjure images commensurate with the stereotypical Gothic tropes of crumbling castles, life after death, the cessation of patrilineage, ghosts, premature burial and confinement. However, Hardy utilized Gothic tropes in many of his short stories and arguably some of his novels, particularly the sensation tale Desperate Remedies. In works such as ‘Barbara of the House of Grebe’, ‘The Doctor’s Legend’, ‘The Withered Arm’ and ‘Fiddler of the Reels’ we see Hardy making recourse to folk-horror legends and practices and psycho-sexual torture and confinement. Ghosts and their portents abound in his poetry and he was acutely aware of the presence of the Unheimliche – that which should be repressed but has reared its ugly head in order to frighten, to reaffirm the existence of the Uncanny.
Whether they are fueling our fever dreams or feeding our fantasies, otherworldly creatures have one thing in common: they are often our best approximations of the unknown other. In recent times, however, changelings, zombies, blood suckers, shapeshifters and other things that normally go bump in the night have enjoyed pop culture revivals which do not always cast them as the feared and fearful unknown. This revival is evident too in works of fantasy, magical realism, or speculative fiction by African authors. Ogbanjes and abikus, children born to die and return over and over again, are not exclusively harbingers of woe. Revenants fall in love, shapeshifters save the day and monsters speak necessary truths. This literary landscape also promotes efforts empower the marginalized and challenge negative stereotypes previously informed by ignorance.
On the African continent, one of such marginalized groups include the various short statured indigenous hunter-gatherer peoples who live in the dense forests of countries such as Rwanda, Burundi, Uganda, Democratic Republic of the Congo, Republic of the Congo, Central African Republic, Cameroon, Equatorial Guinea, Gabon, Angola, Botswana, Namibia, Madagascar, and Zambia. Encounters between these and other African peoples in the course of the Bantu expansions and other migrations have created a rich body of folklore which, in some stories, cast these forest peoples as magical beings endowed with deep knowledge of the natural world. In other stories, they are tricky and violent cannibals to be avoided at all costs at best or destroyed at worst. These stories most likely reflect the nature of the encounters: friendly or hostile. Migrating populations were, after all, encroaching on and building settlements in territories previously occupied by various hunter-gatherer populations. These stereotypes have persisted to the present day, with forest peoples across the continent simultaneously admired for their close connection to the forests and the knowledge that has yielded over time, but also systematically dehumanized and dispossessed of the same forests which have been their homes for millennia.
It is therefore important as we continue to plumb the folklore of different African peoples for creative inspiration, to recognize when a creature depicted as dangerous or monstrous is in reality a differently abled or bodied person. This is a theme I explore in this excerpt from my upcoming book The Runaway Princess and Other Stories in which I retell traditional African folktales recounting the deeds and misdeeds of memorable girls and women from African history, legend, and folklore. I hope you enjoy it!
Films showing throughout the day (11.00-22.00) include:
Neil Jordan’s atmospheric adaptation of Anne Rice’s mould-breaking novel Interview With The Vampire, introduced by Dr Sam George and Dr Bill Hughes from the Open Graves, Open Minds Project (University of Hertfordshire).
Prolific French horror director Jean Rollin’s elegantly crafted erotic tale of female vampirism, Fascination, introduced by Professor Patricia MacCormack (Professor of Continental Philosophy at Anglia Ruskin University Cambridge).
Tony Scott’s stylish cult classic The Hunger, starring Catherine Deneuve and David Bowie as chic vampire lovers, introduced by film critic and film programmer Dr Anton Bitel (University of Oxford).
Abel Ferrara’s gloriously gloomy yet gorgeously shot look at urban decay and human fallibility The Addiction, starring Lili Taylor and Christopher Walken.
And closing the festival will be Jim Jarmusch’s stylish and atmospheric modern masterpiece Only Lovers Left Alive, starring Tilda Swinton and Tom Hiddleston as two vampire lovers coming to grips with humanity’s decline.
Why Vampires, Why Film?
Since their animation out of folk materials in the nineteenth century in Dracula, vampires have been continually reborn in modern culture. Stalking dreams and nightmares in print and on screen, they have enacted a host of anxieties and desires, shifting shape as the culture they are brought to life in itself changes form. They have fascinated us down the years in all their various manifestations and cultural forms, but it is film that has reinvented and reanimated them, giving sustenance to our most beloved gothic monster.
The Open Graves, Open Minds project is beyond excited to be taking part in this vampire film festival. Every age has the vampire it needs and 2022 is the year of the vampire!It marks 125 years of Dracula, 150 years of the first lesbian vampire Carmilla, 100 years of the monstrous celluloid vampire Nosferatu, and 25 years of Buffy the Vampire Slayer. It’s also 30 years since Bram Stoker’s Dracula, dir. by Frances Ford Coppola, so there couldn’t be a more perfect time for us to celebrate the vampire’s reanimation, and its everlasting love affair with the cinema (following on from our Nosferatu at 100 event earlier in the year)
Booking and Preview here. Festival passes (limited to 50) are now on sale and cost £30 (with a Pay Less option of £25 and a Pay More option of £35). Tickets to individual screenings are also on sale for the price of £9 each.
London Month of the Dead is an annual festival of death and the arts supporting London’s magnificent seven cemeteries: Kensal Green (1832); West Norwood (1837); Highgate (1839); Abney Park (1840); Nunhead (1840); Brompton (1840); Tower Hamlets (1841). The programme this year is outstanding, full of gothic tours and spooky entertainments You can check out all the events for October 2022 here.
British werewolves differ from their European counterparts in that they are rooted within haunted landscapes, often appearing as wolf phantoms. In fact, British folklore is unique in representing a history of werewolf sightings in places in Britain where there were once wolves. In this talk, I draw on theories of the weird and the eerie to inform my analysis of werewolves in contemporary myth. I depart from psychoanalytic studies which tie the werewolf to the ‘beast within’ and posit a theory that roots werewolves in landscape and absence in the present. The result is a UK landscape constituted more actively by what is missing than by what is present (a spectred, rather than ‘a scepter’d Isle’). Interrogating the werewolf as spectre wolf, brings the creature within the realms of the weird and the eerie and situates it firmly within gothic modes. This is the climate in which the spectre of the UK werewolf has re-emerged (rising from the ashes of the flesh and blood wolf).
For those who don’t know me here is a brief biography:
Sam George is Associate Professor in Research at the University of Hertfordshire and the convenor of the popular Open Graves, Open Minds Project. Known as the ‘coffin boffin’ on social media, her research specialisms include werewolves, wolves and wild children and the history of the literary vampire. Her interviews have appeared in newspapers from The Guardian and The Independent to the Sydney Morning Herald, The South China Post, and the Wall Street Journal. She’s a regular contributor to The Conversation, amassing 176,364 reads for her articles on vampires and werewolves alone. She recently appeared on Radio 4s ‘In Our Time’ speaking on the first fictional vampire.
I am delighted to announce that I will be speaking at the Centre for Folklore, Myth and Magic in Todmorden, Yorkshire on 6th August. My new research is specifically focussed on the intersection between folklore and the gothic, and this is reflected in recent articles on topics ranging from British werewolves to Japanese mermaids. I am currently completing a monograph on the folklore of shadows and planning a book on Gothic Fairies: A History for Bloomsbury. For this talk I return to the topic that earned me the title of ‘Coffin Boffin’ on social media (vampires of course), only this time I build on research that featured in Older Than Dracula: In Search of the English Vampire and explore the folkloric vampire and its legacy in all its glory and horror.
‘The Folkloric Vampire and its English Progeny: Wharram Percy to Croglin and Beyond’ takes place at 16.00 on 6th August 2022 at the Centre for Folklore, Myth and Magic, Todmorden. You can book via the Centre’s event pages here. Tickets cost 6.00 with the proceeds going to the Folklore Centre. Thanks to Holly Elsdon at the Centre for this stunning poster referencing the vampiric fairies that will also feature in the talk! I hope to see some of you in God’s own country (Yorkshire), which I am now lucky enough to call my home:-)