Why May is the Month of the Wolf

May is turning out to be the month of the wolf. Last week saw the news of the first Danish wolf pack in 200 years  and Kaja has reported that revellers at May Day celebrations in the UK witnessed the appearance of the folkloric wolf at the Jack-in–the-Green Festival in Hastings. There was no shortage of wolves following Walpurgis nacht as it triggered some interesting articles on religion and sorcery which inevitably involved some werewolves. For example, Dr Karl E. Siegfried posted on the story of Tyr’s binding of the wolf Fenrir on his longstanding Norse mythology blog. (well worth a visit) He argued that

The story of Tyr’s binding of the wolf Fenrir is the only surviving myth of a god who must have once been a major figure in Germanic religion. Today, there are two popular readings of the role of the wolf that place twenty-first century identity politics over a deep understanding of the mythic figure itself. After examining the myth and the variant interpretations, maybe we can agree on a reading that is both historical and contemporary.

For the full article see ‘Tyr and the Wolf in Today’s World’

Ian Simmons also wrote about Werewolves and  their appearance in Medieval Jewish thought for the Fortean Times. Thanks to Tamsin Rosewall for sending this article to OGOM (unfortunately there is not an online link) but you can view a scan via Twitter here  https://twitter.com/autumnrosewell/status/858297956012838912

These May wolves are hugely significant as this month also marks the build up to our bid for a Being Human Festival event on humankind’s relationship to the wolf (we hope to make an announce here soon). 

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The Return of the Wolf

 ‘We mourned your death, we were saddened by your exile. We rejoice in your return’ (Levi Holt, a descendant of the Nez Perce tribe, on the wolf).  

The BBC this week broke the joyful story of Denmark’s new wolf pack (Denmark gets its first wolf pack in 200 years ). The romance of the return of the Danish wolf was also covered by Patrick Barkham in The Guardian (04/05/2017). The wolves do not yet have cubs but the scene has been set after the female remarkably travelled 340 miles from its birthplace in Germany’s Schleswig-Holsten region to pair with a male wolf in the Jutland area of Denmark.    

Our Company of Wolves project  has sought to bring attention to the demonisation of the wolf in fairy tales and myth and to humankind’s hatred for, and deliberate extermination of, the wolf. Because of this we are sensitive to the notion that restoring the wolf, protecting the wolf, sharing our lives with the wolf, will allow for a lost culture to be re-born. For opponents of  such projects, wolves can signify the return of an unwanted killer, aided by those who do not know what they are unleashing back into the wild. This is a debate we will be having with the public in our Being Human Festival event in November 2017  ‘Animal Human Boundaries: Banishing the Big Bad Wolf’ (watch this space, announcements expected soon).

Garry Marvin, UK wolf expert, Prof. of Animal-Human Relations, and contributor to our project has argued that we can still honour our ancient relationship with the wolf, and that what affects them, affects us. He has also acknowledged that ‘the wolf is a creature that must continue to carry the weight of its cultural creation’ (Wolf, p. 180) and that humans will dictate (as they have for hundreds of years) when wolves will be permitted to live and where. It is crucial therefore to continue to debate our company with wolves.

Below a photo from OGOM’s visit to the UK Wolf Conservation Trust (part of our conference proceedings in 2015).   

The Company of Wolves: Werewolves, Wolves, and Wild Children – Narratives of Sociality and Animality ed. by Sam George and Bill Hughes will be published by Manchester University Press in 2018.  

Dr Kaja Franck (our werewolf expert) has Danish roots so she will thrilled that her mother country Denmark is the setting for the wolf’s return!   

 

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An Interview with Ursula Le Guinn

Fascinating interview with the seminal fantasy and science fiction writer Ursula Le Guinn, author of the children’s YA Earthsea series, the classic SF novels The Left Hand of Darkness and The Dispossessed, and many others. Le Guin discusses world-building, the ‘soft’ sciences (such as anthropology) in SF, anarchism, feminism, and much else.

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CFP: Neo-Gothic

A call for articles on Neo-Gothic for the Phantasma journal, deadine 31 January 2018.

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CFP: Gender and Horror edited collection

A call for articles for a proposed edited collection on gender and horror. Deadline end of May.

This edited collection aims to re-examine horror in an era of remakes, reboots and re-imaginings. There have been many developments in the horror genre and whilst much of it has been reliant on previous material, there are also many shifts and changes such as:

  • cross-over of genres (for example, teen romance paired with vampires and werewolves, or horror in space);
  • new formats such as Netflix, and cinema no longer being the only place we see horror;
  • a resurgence of stories of hauntings and ghosts;
  • and the popularity of ‘found footage’.

We wish to focus specifically on horror from 1995 to the present, as after a brief hiatus in the mainstream, the 1990s saw the return of horror to our screens – including our TV screens with, for example, Buffy The Vampire Slayer – and with horror and its characters more knowing than before.

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Jack-in-the-Green Festival

Following on from Sam’s post about folk horror and its recent revival, I thought I would write about my attendance of the Jack-in-the-Green festival in Hastings. This takes place around May Day and, as well as the ubiquitous May Pole, the celebrations build to the Jack being beaten in order to bring in summer. It is traditionally a raucous affair (which I can attest to). The Jack surrounded by his bogies is paraded through the town up onto a hill top. Accompanying him on his journey are Morris dancers, animal-headed people, and a plethora of people in green.

You can see the Jack in the photograph on the right up on the plinth surrounded by his followers prior to being beaten. I am assured that they take the gentleman out of the Jack before they start the beating. According to the Jack-in-the-Green website, this tradition started in the 16th and 17th century and was carried on in Hasting until 1889, before being revived in 1983. This is also confirmed by the Company of the Greenman.

However, as with many folk revivals, what it means and where it originates from is something that depends on the person discussing it. Some argue that it harks back early Pagan behaviours which have continued to exist under the guise of Christianity. Others think it is actually a Christian folk festival that evokes English sensibilities. In all honestly, I am inclined to think that its true meaning is in the pleasure of ritual and tradition. It creates cohesion, identity, and is a great excuse for drinking whiskey at 10 o’clock in the morning. (As the pictures show, the weather was not excellent). The British may be known for being reserved but I think we secretly enjoy dressing up and letting our hair down. Putting on face paint allows us to lose our inhibitions and gives us a day off from the strictures of polite decorum. I thoroughly enjoyed seeing some rather bemused tourists getting their noses greened by buxom wenches in tight-laced bodies. Each year, the festival is renewed, much like the seasons and the performance of this ritual brings much pleasure. I’d love to see more folklore(ish) events taking place.

I was also pleased to see a wolf amongst the revellers. As Sam’s post about the English eerie and (were)wolves discusses, an engagement with our hidden or lost national past is also a way of acknowledging the cruelty we have enacted on the natural landscape. Deforestation and the destruction of indigenous animal populations haunts the landscape as much as human-on-human violence. This pale wolf, walking along an ancient road, reminds us of what we lost and what may return in a truly uncanny way.

To end on a lighter note, here’s a picture of me in my May Day get-up looking suitably like someone who might entreat a policeman to climb into a giant wicker structure. (And apparently enjoy it).

 

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The Myth of Frankenstein and Scientific Hubris

Here’s an excellent essay by Phillip Ball, ‘“Frankenstein” Reflects the Hopes and Fears of Every Scientific Era‘ that challenges the oft-circulated idea that Mary Shelley’s Frankenstein is directed against the hubris of scientists. Sometimes, this is framed as feminist critique, but this can be challenged. It is, of course, more complex and subtle than that (though Shelley’s 1831 revisions do tend to give weight to that approach). Ball also goes on to discuss how the myth of Frankenstein, how the narrative has been reinterpreted and adapted since its inception, says much about cultural anxieties.

And, still on Frankenstein, there’s a talk at the Barbican with Prof. Angela Wright and Prof. Mark Bishop, one of a series on classic SF texts:

Penguin Classics, in partnership with the Barbican, presents a series of book club events, each focusing on an iconic title from the Science Fiction genre. These events are open to all, although it is recommended that attendees have a familiarity with the title being discussed, and existing book club groups are particularly encouraged to attend.

Mary Shelley’s enduring novel, Frankenstein, will be the subject of the penultimate book club event. Henry Eliot, Creative Editor of Penguin Classics, is joined by a prestigious line-up of speakers to explore this iconic Science Fiction text – Professor Angela Wright of the University of Sheffield, whose critical study of Mary Shelley is due to be published later this year, and Professor Mark Bishop, an Artificial Intelligence specialist and Professor of Cognitive Computing at Goldsmiths, University of London.

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What to do when the Folk Horror is us

Tomorrow marks the publication of the eagerly awaited ‘Folk Horror: Hours Dreadful and Things Strange’ by Adam Scovell (Auteur publishing, 2017). Scovell has defined such genres in relation to (mostly British) landscape as ‘the evil under the soil, the terror in the backwoods of a forgotten lane, and the ghosts that haunt stones and patches of dark, lonely water; a sub-genre that is growing with newer examples summoned almost yearly’ (‘Where to Begin with Folk Horror’).  Adam Scovell, Mark Fisher and Robert Macfarlane are the enfants terrible of British Folk Horror, a term coined by Mark Gatis in A History of Horror for BBC4 in 2010.

The English eerie is quickly becoming a subgenre of the British folk horror movement. I presented on this phenomenon at the Supernatural Cities conference in Limerick recently in relation to the Hull werewolf. Fisher’s The Weird and the Eerie is on my bookshelf and I’ve blogged about the BFIs Where to Begin With Folk Horror, compiled by Scovell, in previous posts. Now, to mark May Day, Michael Newton has published an article on ‘how folk horror is flowering again in Brexit Britain’. His  insightful and informative article ‘Cults, Human Sacrifice and Pagan Sex’ appeared in The Guardian earlier this week.

May Day in St Albans 

This latest analysis by Newton coheres with my own concluding remarks at the conference which dwelt on hauntings, absence, extinction and environmental damage. I held that it is humans, not wolves or the supernatural, that we should be afraid of. And it is almost a rule in folk horror that the supernatural is undermined, that the evil is entirely human: that is the point. The cultists are the cinema audience. The pagan rite we are witnessing is the film itself. A sense of complicity was always part of folk horror. As Newton points out ‘The killing crowd in these movies is us’.

Above should I be afraid of my neighbour? Below its Merrie England again in St Albans! 

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Dracula, in history and in comic books

There’s an interesting article here by Duncan Light, ‘Romania’s problem with Dracula‘, on the fraught relationship between Romania and the history, doubtful at times, that lies behind Bram Stoker’s creation of Dracula.

And more on the archetypal vampire by Valentin Faluotica on ‘15 Comic Book Heroes who Fought Dracula‘.

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Angela Carter Interview with Marie Mulvey-Roberts

Here’s an account of a fascinating radio interview on Angela Carter with Dr Marie Mulvey-Roberts, Associate Professor of English literature at UWE, with a link to the interview.

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