Andrew Michael Hurley’s superb Starve Acre ends his folk horror trilogy of novels exploring the eeriness of the rural landscapes that Hurley has immersed his fiction in since his debut The Loney was published in 2014. In this interview, I speak to Hurley about Starve Acre, genre boundaries, 70s British folk horror, and moving from the rural to the urban in his next novel.
Reviewing a book as erudite and as confident as this is in many ways a challenge, as Nicole Cushing’s ambitious work demands to be judged by the highest standards. A Sick Gray Laugh is very firmly in one of the oldest of the traditions of the novel. Playful, clever, at times spellbinding and always brave, the narrative is in the style mastered by Lawrence Sterne in the eighteenth century in his astonishing work The Life and Opinions of Tristram Shandy, Gentleman. We are, very early on, introduced to the character of “the writer”, Noelle Cashman. We are posed various questions and challenges from the very start, and we are firmly patronised, though always with wit and charm, when our frustration or fascination are anticipated: “These are entirely reasonable questions,” writes “Cashman”, “Be patient. All shall be revealed.”
Last summer, alone, I decided to watch The Ritual on Netflix. I’ll admit, despite being a horror fan and generally desensitised, I was spooked. The tension of the first half and the eerie imagery of the second half got me, but I enjoyed myself. I was clearly in a particular type of mood because the next night I saw The Forest come up on my suggestions. Always down for a horror movie rooted in mythology and folklore, feeling like I wanted to watch more people get lost in the woods for some reason, I decided to give it ago.
I was sorely disappointed.
Weird fiction, a literary mode defined by Lovecraft as possessing “a certain atmosphere of breathless and unexplainable dread of outer, unknown forces”, is usually spoken about in the same sentence as names such as Algernon Blackwood, Arthur Machen, William Hope Hodgson, M.R. James, and, of course, H.P. Lovecraft. Unlike the earlier and related genre, the gothic, the names of women very rarely turn up in discussions of weird fiction, unless when referring to writers who came later in its development, from the 1950s onward. And even then, far too little. It’s high time, therefore, for the release of this new collection of short stories from Handheld Press, edited by expert on women’s supernatural fiction, Melissa Edmundson, whom Sublime Horror readers might remember from Avenging Angels and her reading list of ghost stories by Victorian women.
When it comes to video games, especially Metroidvania-style platformers, I’ve a couple of requirements: off-plot exploration, an excellent soundtrack and, most difficult of all to satisfy, an aesthetic based on medieval Spain’s particularly esoteric form of Catholicism.
Born in Greece, raised in Ireland, educated in England, and a writing career forged in America – perhaps it is Lafcadio Hearn’s lack of a permanent home that resulted in his openness towards and interest in other cultures. If we look back on Hearn’s career and works, it is a recording of folklore and local customs that stands out most clearly.
In Search of Darkness, now available to pre-order, is a documentary love letter to American 80s horror films. It examines the films of each year consecutively, interweaving them with discussions on different topics, from special effects to the decade’s iconic women of horror. You can read what I thought in my review. David Weiner is the writer and director of In Search of Darkness and, with excitement and press coverage ramping up, we had a chat about the film’s making.
Julia Armfield’s short story collection salt slow opens with “Mantis”, a story about a teenage girl whose body is changing. But unlike her peers’, her body is changing in a more unexpected, more monstrous way.
A huge congratulations to Catriona Ward whose novel Little Eve won Best Horror Novel at the British Fantasy Awards, presented today at FantasyCon 2019 in Glasgow. Little Eve is a 1920s murder mystery set on a remote Scottish island within a nature-worshipping cult and is one of our favourite horror novels of the last couple of years.