Pixie Pages

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Grace Hallworth and the Oral Traditions of Trinidadian Ghost Stories and Tall Tales

Published February 22, 2017 by rmpixie

Last year, I gained a new co-worker that turned out to be my sister from another mister. We share a lot of similar experiences, good and bad, and also a Trinidadian heritage. When computer glitches made us scream out in frustration, my lovely co-worker would stage whisper “Obeah!”, eliciting uncontrollable giggles from both of us. Obeah is a West Indian term for witchcraft and general supernatural trickery, often thrown into conversation in a West Indian household with a casual knowing, as if every little thing was explained by that one word.

When she brought me a book on folklore from Trinidad, I squealed! Entitled “Mouth Open Story Jump Out” (which basically means you feel free to gossip or tell tales), this book contains all the stories my mother and grandmother used to tell my sisters and I, either to scare us into good behaviour or just freak us out in general. I could once again read about “La Diablesse” or “The Suocouyant”; remembering how frightened I was when the women in my family would recount the “true” stories from the Trinidadian backwoods, otherwise known as “the bush”. This book inspired me to dedicate a post for Black History Month and Women in Horror Month to Grace Hallworth, a Trinidadian storyteller who carries on the tradition of the island’s folktale and ghost stories in both the written and spoken word.

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Hallworth, retired librarian, has a number of children’s books under her belt. Born in Trinidad and moving to England in 1956, her storytelling and writing would honour the tradition of Trinidadian folktales for decades. There isn’t a lot of information on her since she is senior and now resides in a retirement home northwest of London, but she is still active and celebrated within the storytelling community and a great reference for those in the children’s literature and academia world.

Storytelling is ingrained in our human DNA; from the beginning of civilization it has brought us together, connecting us and keeping our traditions and cultures alive through the spoken word, song, dance and pantomime.  It is an exercise in remembering ancestry, entertainment and community in one fell swoop.  In island culture, a simple gathering can result in stories about aunts, uncles, cousins and all the weird and wonderful things they encounter in ” Nancy” stories, a word spawned from the original tall tale figure Anansi, the trickster spider from West African tales.

The stories I remember most were the aforementioned “La Diablesse”, a hoofed woman who leads men astray and “The Suocouyant” an old woman who becomes a ball of light and sucks the blood of humans and animals. I thought about these ominous figures in an abstract way, in the same way a kid thinks about the devil or the boogeyman. These were our boogeymen, or women as the story goes. They were ours and everyone else’s it seems, as these phantoms went by other names across the world, like the Phillipines blood sucker The Aswang and the Succubus who keeps company with The Soucouyant, who in turn shares similarities with the Spook Lights featured in Eden Royce’s collections of Southern gothic horror. Even the Loup Garou, or werewolf, stays the same in France and the West Indies. It never occurred to me then how connected these tales were until I started to write about horror themes critically.

Before each set of stories, Hallworth writes a paragraph or two describing the traits of these entities in the chapter, giving a context to the oral tale. You can see a common thread with the spirits and demons that only makes sense since Trinidad and Tobago are like many Caribbean islands that have a long history of colonization. On top of the indigenous people of the islands, settlers from Europe, Africa, The United Kingdom, South Asia and China came in as well, so there is no wonder that some phantoms share the same traits as their originators back on their home shores.  It’s actually comforting to know that Hallworth worked to validate and document these folktales so that they could stand with their global counterparts in unity as they scare children worldwide.

Hallworth preserves regional dialect or patois, traditions and nostalgia as well as the tales themselves.  Some of the stories provide a moral like be careful what you wish for or living in harmony with the natural world, and some were just meant to scare the bejesus out of you.  It is a feat the can’t be done without some effort, but she takes these oral traditions and commits them to the page with an ease that makes me hear my mother and grandmother’s voices as I read the words. At the very least, it would be a treat to hear Hallworth herself recite these tales, as she will still do from time to time in the English libraries and schools even though she is reportedly in her late 80’s.

As kids become more sophisticated with electronics and adult life readily at their fingertips, it’s comforting to know this little book of Nancy stories persists on library shelves so the original monsters under the bed or at our windows don’t fade away.  I am grateful for Grace Hallworth because it is through her book that I remember my mother (my original woman in horror) and my heritage.  She is a storyteller, writer, children’s author and an honorary woman in horror for preserving these tales.

Grace Hallworth is a patron for The Society of Storytelling in the U.K. and has been nominated for the Astrid Lindgren Memorial Award in 2016 and 2017.

For a list of all her books, check here.

Spook Lights 2: More Southern Gothic Horror for the Soul

Published January 23, 2017 by rmpixie

 

 

spooklights2

Spook Lights 2:  Southern Gothic Horror

(Amazon Digital Services LLC, 2017, Kindle Edition)

 

From childhood scares to the horrific and sensual, Spook Lights 2: Southern Gothic Horror gives us more of the steamy Charleston, South Carolina-based horror from author and editor Eden Royce.

Currently based in the U.K., Royce has stayed faithful to her Southern roots, and while she is a fan of the supernatural in general, this time around she decided to focus on the human side of horror, inspired by wise words from her beloved grandmother about being wary of humans and not movie monsters.

This second collection takes the foreboding and magic of the first and once again weaves it into everyday life with stories like To-Do List, The Dating Pool, and Blood Read. Other stories like Laughter of Crows and Haints of Azalea Hall blur the lines between the living and the dead, and there is a timelessness with each one that makes you feel a nostalgic yearning from within.

Royce is very good at incorporating a nonchalant acceptance with each tradition of magic. The everyday fables and superstitions are like a collective memory or common knowledge with the characters; ingrained within the communities as a living history. They remind me of my own West Indian background and old wives’ tales I would hear as a child, casually tossed into conversations without the blink of an eye.

The historical content in the stories is just as rich as the first, but the human element prevalent in this collection. She uses the fragility of uncertainty within our human existence and reaffirms it with ancestral root magic and powerful women. Doubts soon dissipate as each character sees their true selves be it good or bad, and they either succumb or escape the terrors that plague them.

Her final story Folk will resonate with readers for many reasons. I myself will go back to read it several times and glean something different each time I do, but I think it tells us to remember where we come from and celebrate or take heed of it.

Eden Royce definitely remembers her roots, and not only revels in them, but documents her ancestral traditions, showing her pride in this wonderful sequel set in a sensual and mystical world.

Spook Lights 2: Southern Gothic Horror is available now on amazon here, and check out the rest of her writing here.

Follow her on her sites:

www.edenroyce.com

www.darkgeisha.wordpress.com

http://www.twitter.com/EdenRoyce

And read my review of her first volume here.

Book Review: Films of the New French Extremity: Visceral Horror and National Identity

Published September 19, 2016 by rmpixie

Films of the New French Extremity: Visceral Horror and National Identity McFarland & Company Inc., 2016

 Films of the New French Extremity:  Visceral Horror and National Identity by Alexandra West ( McFarland & Company Inc., 2016)

Scholars and journalists Alexandra West and Andrea Subissati, hosts of the Faculty of Horror podcast, focus on in-depth analysis of the horror genre with a feminist approach that would sway the staunchest naysayer.  With their knowledge and background, it’s no surprise that West has recently written a book entitled Films of the New French Extremity: Visceral Horror and National Identity and after getting to meet the author herself, I had to buy a copy. Once I flipped past the first page I was hooked.

Films of the New French Extremity: Visceral Horror and National Identity came from a lecture West presented in 2014 for The Black Museum, a series put on by Subissati and Toronto-based writer and editor Paul Corupe where seasoned speakers and professionals in the horror genre present on various topics “from film theory to genre studies”.  It was here that her academic but extremely accessible book was born, and West successfully tracks the transition “from art-house films to full-fledged horror films” that came out of France from the early 90’s to the mid 2000’s.

The genre of New French Extremity is something that for a long time only a few could stomach or relate to. It is brutal, bloody and in your face, but West eases the reader in by giving you a solid base of French history and politics, along with the violence it spawned, in order to help you understand the environment these directors were coming from and the genesis of their films. In essence, French society tended to put a shiny veneer over the ills and wrongs of their actions, turning a blind eye to it all. These films attempt to peel back the shiny exterior of a country celebrated for its culture to show the societal warts that got bigger over centuries. While some of the filmmakers may have different approaches to their subject matter, be it murderous country folk, abused women, self-destructive characters or relentless serial killers, West brings them together to map their contributions to pushing societal, sexual and political boundaries, showing how their films soon became cinematic earmarks as well as social commentaries in the history of horror cinema and what is now considered a critical part of the genre.

Most horror critics and writers like myself have seen many of the films West writes about. I saw them because they were a) French and b) horror or taboo; things I love unconditionally, with Martyrs and High Tension sitting in prime positions on my shelves. They were terrifying films yet I was drawn to them. I couldn’t make connections other than they were all French and showed a darker side to the country I romanticized so much; dots on the same page without the lines to connect them. West is able to create threads of similarities with such coherence and logic, that any French extreme enthusiast feels a sense of almost relief as her analysis pinpoints characters, motivations and plotlines to make sense of the chaos you witness on-screen. All the chapters are riveting, but for those of you who search for some meaning from Martyrs as much as I have, West’s dissection and interpretation of the film comes very near to perfection.

Films of the New French Extremity: Visceral Horror and National Identity will resonate with those who love French Extreme cinema and those who have visited (and fallen in love with) France like myself; becoming lured by the romantic façade of an aloof yet beautiful country, only to scratch the surface revealing the grimy reality underneath.  Steeped in the history and culture of France, West’s book makes these admittedly horrifying films accessible and convey an understanding much like one would study a terrifying beast for meaning. It is truly a must read for any and all horror fans and academics out there looking for a comprehensive guide to the beginnings of French Extreme cinema.

This Wednesday September 21st, The Black Museum will hold a book launch for Films of the New French Extremity: Visceral Horror and National Identity in Toronto where West will do a reading. Check out the details here. Come out to support great Canadian talent!

 

Hamlet of Horror: A Look at Wayward Pines

Published June 5, 2015 by rmpixie

waywardpines

Wayward Pines (T.V. series, 2015)

 

Being isolated in one location, be it a small town or a mysterious island, is a terrifying concept in horror and sci-fi since as humans, most of us have an insatiable lust for freedom.  Classic representations of this theme in The Stepford Wives, Twin Peaks, and Lost makes us uneasy as secrets, the supernatural and suppression take control, while (in my opinion) the excruciating Under the Dome puts us (or at least me) asleep with unseen threats and captors.  The latest contribution to this roster, Wayward Pines, is a weird take on the isolated, sleepy town that is not what it seems.

Ethan Burke (Matt Dillon) is a secret service agent searching for two of his colleagues.  On his way to their last destination of Wayward Pines, Idaho, he is involved in a car crash, and disoriented, staggers into the small idyllic town hidden in the mountains.  He ends up in a deserted hospital under the care of Nurse Pam (Melissa Leo) and soon discharges himself when he realizes he has no wallet, no phone and no contact with the outside world, frantically searching for answers and trying to keep his grip on reality.

Wayward Pines’ tightly wound Sheriff Pope (Terrence Howard) and the townspeople are a strange bunch, and not forthcoming with any information due to the town’s restrictive code of conduct, save for a bartender named Beverly (Juliette Lewis) who becomes Ethan’s guide in this surreal hamlet.  He soon learns he cannot leave, and the agents he is looking for come to different, and sinister, fates.  Ethan’s wife Theresa (Shannyn Sossamon) clings to the hope that his disappearance can be explained, and her determination to find him matches his to leave the locked-down town.  What makes this story all the more interesting is Ethan’s previous breakdown from a case gone wrong.  He felt he could have prevented the disastrous outcome and his hallucinatory symptoms from the past makes the viewer wonder whether his experience in the town is real.  There is also a strange difference in timelines that has him, and some inhabitants, confused.

Wayward Pines is based on a trilogy of books by Blake Crouch, who was so influenced by Twin Peaks in the 90’s that he basically wrote an homage to the series.  Produced by M. Night Shyamalan, who also directed the pilot, this series is bubbling with secrets and nuances.  I have to say I was a little concerned when I heard Shyamalan was involved, as I had visions of The Village and the train wreck that movie was; but having read the first part of this trilogy, the writing for the show is smart and illustrates the suspense and atmosphere of dread that is so prevalent in the book.  Along with Crouch, series creator Chad Hodge also streamlines the action in the novel, which was at times overly descriptive, to create intrigue that slowly reveals what will hopefully be a first class ticket to bizarro-land (in a good way).

Oscar and Emmy nominees grace the cast with the likes of Terrence Howard and the acclaimed Toby Jones as Dr. Jenkins; and I love Matt Dillon who is one of the most underrated actors around, as well as the always fabulous Juliette Lewis and Oscar winner Melissa Leo as the nasty, ball-breaking nurse Pam.  It is great to see mainly big-screen actors take the leap to television, which may draw a larger audience.

While not for everyone, I really hope this show goes the distance.  It took me a few episodes to warm up to Wayward Pines, but after reading the first book for a better understanding of the story and this past 4th episode of a 10-part season that may or may not be a one-off, things are starting to get really interesting.  It is similar to Twin Peaks, and perhaps to some degree Lost, but it also stands alone with a uniquely weird twist that, if show stay true to the books and doesn’t go off the rails, will blow some minds out there.

 

Wayward Pines airs Thursday nights at 9:00 p.m. ET on Citytv in Canada and Fox in the U.S.

*Looking for the books?  I searched high and low, visiting several book stores in my hometown with no luck unless I wanted to place a specific order, but your best bet is to download the free Kindle app and get a digital copy from Amazon here.  Please note that the first book is entitled “Pines” and it is a decently written, easy read.

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