Wicker Back

The dilemma of my eclectic interests sometimes runs up against the natural slowness of publishing.  My book on The Wicker Man has been given the green light by Auteur Publishing and should be out next year.  I just received the readers’ reports and they were positive enough to make me blush.  The thing is, I submitted the manuscript back in January and I’ve nearly finished writing my next book since then.  It’s on a different topic for which I’ve been collecting sources since January.  I really hope this next one won’t publish with an academic press.  The endless rounds of revision from peer review can wear a body out.  Reviewers, you see, have university jobs.  Libraries at their fingertips.  Sabbaticals.  (I work with authors who won’t write unless they have one of the latter.) Now my reading shifts back to Summerisle.

For those of us with 925s that get a paltry number of holidays per year (which are spent holidaying) and paid like most working stiffs, with no academic library access, this can present somewhat of a challenge.  I see peer reviews all the time.  Academics so deeply into the subject that they don’t (can’t) think of the practicalities.  When I see a reviewer write that a book is ready for publication, but if the author could only restructure the whole thing and approach it from this angle instead… I have to chuckle.  During my teaching career I worked in situations that didn’t allow for sabbaticals.  Even among academia those given such rare benefits are privileged.  It’s a wonder that so many books get written, all things considered.

Like waking from a dream world, I suddenly have to downshift to a previous project.  I haven’t really thought much about the Wicker Man since January.  My next book, which is eclectic, has been slowly gestating over the months.  My reading has been geared towards it and is financed personally.  I’ve tried contacting the local college and university libraries.  I can’t borrow, or do inter-library loan, so the weird resources I need I have to buy.  Preferably used.  One thing reviewers like to do is point out new resources.  And yes, I have to agree that my argument would be stronger with them.  I have a strategy to the way I write my books, now that I’ve found a receptive readership, so none of this is mishap, I hope.  (Ironically, now I get quite a few readers of my revised dissertation asking me questions about ancient West Asian studies.)  That trireme paddled from shore long ago.  I’ve moved my current project to another burner, and you’ll be hearing more about The Wicker Man in coming weeks.  Next year is the film’s fiftieth anniversary, so I have a deadline that I just can’t miss. It’s time to get reacquainted with an old friend.


Next Trick

Book contracts make me happy.  For my next trick, I’ll be writing a book on The Wicker Man for the Devil’s Advocate series.  This will be a short book, and hopefully priced down where individuals can afford it.  The Devil’s Advocate series was initiated by Auteur Publishing some years ago.  The series covers individual horror films in about 128 pages.  I pitched the idea of The Wicker Man for a couple of reasons.  One, Auteur didn’t have one in the series.  And two, I’ve been working on holiday horror for some time.  Holiday horror encompasses movies where a holiday features in the story, generally in a significant way.  Think Halloween, or April Fool’s DayThe Wicker Man takes place during a pagan celebration of May Day, falling neatly into the category.  You may see, in coming weeks, posts about various Wicker Man books.

While still in the horror genre, this next book will be a departure from the supernatural horror of Nightmares with the Bible.  Demons are frightening, no doubt, but Wicker Man is more about how religion can motivate people toward evil.  It is part of what has been termed the “unholy trinity” of early folk horror, classed with Witchfinder General and The Blood on Satan’s Claw.  This “unholy trinity” overlaps in time another famous threesome: Rosemary’s Baby, The Exorcist, and The Omen.  There can be little doubt that modern horror really began in 1968, which also gave us Night of the Living Dead.  Folk horror utilizes both folklore and the landscape—generally rural—as the basis for its fear.  And you can’t get much more isolated than Summerisle.

The hope is to get this book out in 2023.  That will be the fiftieth anniversary of the release of The Wicker Man.  Although it came out when I was eleven, I didn’t see it for another thirty years at least.  By that point in time I’d watched and read about enough horror to find out about and appreciate this particular, indeed, peculiar movie.  I was blown away the first time I saw it.  It is quirky but stunning.  Christopher Lee maintained throughout his career that it was his best movie.  I haven’t seen all of Lee’s movies (who has?) but I’m inclined to agree.  I’ll be getting to know this movie in some depth over the next several months.  Having watched it many times already, I’m drawing a map for a journey to Summerisle. You’re welcome to come along.


Watching The Witch

Good things often come in small packages.  I’ve read a couple of Brandon Grafius’ books before, and I’ve had The Witch on my reading list since I found out about it.  This is one of those books that benefits from knowing the raison d’être of the series of which it’s a part.  Devil’s Advocates is published by Auteur Publishing as a set of brief books on specific horror films.  If I didn’t have other financial obligations I could see myself purchasing the entire series.  Fortunately this volume was on a film I’ve seen (horror films have become so prolific that I can’t afford to see all of those I’d like either).  The Witch is a provocative movie, having gained critical acclaim as well as box office success.  It’s also a complex film.

Grafius ably takes us through the Puritan background that’s necessary to understand the social, and familial tensions that make this movie work.  Robert Eggers is a director known for his meticulous attention to period detail.  Even while weaving the fantastic into his stories, the plots are entirely believable.  Grafius has a solid grasp on how religion and horror interact.  That’s on full display here.  Looking at The Witch as an exploration of folk horror, he illustrates the importance of the landscape to the tale as well as how isolation sets a family off against one another.  The Puritan religion creates a monster, as it were.  Grafius doesn’t shy away from the misogyny behind the developing idea of the witch, either.  His explanations of—not excuses for—it are insightful.

Granted, horror films aren’t everyone’s cup of tea.  Or coffee.  As I sensed when writing Holy Horror, fans of the genre enjoy reading about it.  I often wonder why those of us who watch it do so.  In my case, in any way, it feels like a compulsion.  It’s a coping technique and perhaps an antidote to the headlines.  Horror can be an intensely creative and socially aware genre.  The best of it critiques the flaws of society.  As Grafius points out, Thomasin only wants to be a good girl.  The Puritan society into which she was born projects the image of the witch upon her.  Eggers gives us a real witch in the woods, of course.  Grafius explains how this becomes the aspiration of a young woman who’s only trying to do what’s right.  I have a feeling I’ll be going back to the Devil’s Advocates series again.