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witchcraft

Posted on December 26, 2023

The Place Called Dagon – Herbert S. Gorman’s Folk Horror Novel

Guest Post

by

Philip Jenkins

Baylor University

The current fascination with folk horror as a genre began with British contributions in cinema and literature, and that focus is still obvious, despite all the efforts to broaden and globalize the narrative. Even today, the American part of the story is still seriously under-valued, particularly early writings that long precede the British wave of the 1960s. If I was looking for the first ever piece of writing in folk horror, I would make the case for Nathaniel Hawthorne’s short story “Young Goodman Brown” (1835), while Shirley Jackson’s “The Lottery” (1948) is an obvious early classic. Here, I want to highlight a work that still stands among the very first full-length novels in this tradition written in any country, and one that already at its early date fulfils all the criteria for the folk horror label. This is The Place Called Dagon, by Herbert S. Gorman, published in 1927. Although it is poorly known today, it still makes for very rewarding reading.

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Vincent Price
Posted on July 24, 2018

God’s Work: Witchfinder General and the abuse of power

Guest Post

Michael Reeves’ Witchfinder General (1968), or The Conqueror Worm in the US, sits slightly at odds with other seminal Folk Horror texts The Blood on Satan’s Claw (Piers Haggard, 1971) and The Wicker Man (Robin Hardy, 1973).  Despite similarly engaging with belief systems and Britain’s rural traditions it’s a more overtly political film, less straight horror, in which paganism is an excuse for the human horrors in the film rather than the cause of them. Indeed, almost no one in Witchfinder General believes in anything except advancing their own interests.

A low budget film produced by Tigon, Witchfinder General exists in several different versions (cut for violence in the UK; with additional voice over work in the US in an attempt to link the film to Corman’s Poe cycle; with extra nudity in Germany), it’s a little rough and ready but makes good use of the East Anglian locations and draws out an excellent low key performance from Vincent Price at odds with much of his work in the genre.

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