Tag: Halloween

ALWAYS HAUNTED by LindaAnn LoSchiavo

October 29, 2024 / Kyle Wendy Skultety / 1 Comment

Trick or treat, twisted with treachery…..

Haunting and harrowing visions of All Hallows’ Eve here include horrific crimes committed on October 31st, a honeymoon homicide, mysterious witches, amorous vampires, dead serious poltergeists, along with a pageant of autumnal imagery sure to evoke goosebumps beyond the spooky season.
Wearing the cunning costume of a Hallowe’en poetry collection, 24 poems reimagine macabre true crimes and explore injustices.

Thanks to the author for this review copy!

This Halloween anthology is a captivating exploration of the eerie, the mystical, and the supernatural, blending themes of memory, legacy, and the unseen forces that shape our lives. LoSchiavo, known for her rich literary voice and command of language, weaves a collection of poems that evoke both the beauty and the terror of the human experience, exploring what it means to live with constant reminders of the past—whether it be ghosts, memories, or the weight of history.

The title itself, Always Haunted, sets the tone for the collection, suggesting that the hauntings in these poems are not momentary but persistent, a lingering presence in every aspect of life. The author skillfully balances the spectral with the personal, moving between ghost stories and reflections on human existence. Her poems touch on the inevitability of death, the thin veil between the living and the dead, and the remnants of history that refuse to fade.

LindaAnn LoSchiavo’s poems are a masterclass in atmospheric writing. She has a knack for finding the perfect words to evoke a sense of fear and unease, while the vivid imagery of autumn (Crunching frost-crisped leaves underfoot produce a dry crackle like ghosts coughing) and haunting language (Robed figures holding torches silently walk widdershins) transport readers to dark, mysterious worlds. Each poem is a miniature masterpiece, filled with suspense and a sense of foreboding. From ghostly encounters to eerie tales of historical injustice, the author expertly captures the essence of Halloween. LoSchiavo’s use of language is exquisite in these following examples.

Pumpkin thieves are in for a surprise here:

A jack-o-lantern moon illuminates

Gold grinning gourds, arousing appetites…..

Shushed evergreens’ tips whisper “witching hour”

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A different take on “Macbeth”:

The patriarchy does its best to warn,

Forbid, discourage daughters, sisters, wives

By commandeering rights to accolades……

Elizabethan dramatists – all men! –

Put witches in the plot for novelty

Meanwhile, witch hunts harassed the innocent…

Mark my words, women have always fought back,

Preserved infernal mysteries. Bewitched,

Dark invocations learned by stealth live on.

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Giving life (and love) to Potter’s Field:

Death flattens a corpse’s understory, its ancestry a forgotten dialect, but long bones persevere. Once a potter’s field agitated this soil, 20,000 deceased, indigent New Yorkers were shoveled over, poverty the public’s natural blindfold.

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One of my favorite elements of this collection is its ability to blend the supernatural with historical events. These poems often reimagine true crimes and injustices through a Halloween lens, adding a chilling dimension to the stories. This approach is both thought-provoking and haunting, inviting readers to consider the ways in which the past can continue to haunt us. The use of footnotes to provide context adds another element to these poems – such as:

the story of America’s first female tycoon, unfairly portrayed as a miser and eccentric, which could not be further from the truth (Hetty Green, the “Witch of Wall Street”).
what is now Washington Square Park was Manhattan’s Potter’s Field, where thousands of people, including the unidentified, indigent, and those who died of yellow fever, were buried (Babysitting a Bone in Washington Square Park)
former journalist Peter Braunstein is serving an 18 years-to-life sentence at Five Points Correctional Facility in Romulus, NY for crimes he committed on October 31, 2005 (Hallowe’en Horror, October 31, 2005).

Each poem feels like a glimpse into a shadowy world where reality and the supernatural intersect. Whether describing a physical haunting or a more metaphorical one, such as being haunted by family history or past regrets, LoSchiavo’s words linger in the mind, echoing like the spirits she writes about. Her language is both elegant and chilling, offering moments of beauty even in the darker corners of her work.

The illustrations accompanying the poems are a perfect complement to the text. They add a visual dimension to the stories, enhancing the overall atmosphere of the collection. The artwork is both haunting and beautiful, capturing the essence of the poems in a visually striking way. Some of my favorites are the ones accompanying Hetty Green, the “Witch of Wall Street”, Emily Post’s “Etiquette Book for Ghosts”, and The Hallowe’en Homicides on October 31, 1981. The last one is especially poignant, underscoring the melancholy of the words.

The collection’s emotional depth is another highlight. LoSchiavo doesn’t just rely on the macabre to draw readers in; she layers her poems with emotional resonance, exploring themes of loss, guilt, and the passage of time. Readers will find themselves contemplating the nature of memory and the ways in which we are all haunted by our own experiences and the stories of those who came before us.

In Always Haunted, LindaAnn LoSchiavo delivers a powerful collection of poems that lingers long after the final page is turned. It is a book for those who enjoy poetry that delves into the supernatural but also for those who appreciate reflective, introspective work. Her ability to blend the spectral with the emotional makes this collection a haunting, yet human, experience.

Want your own copy? You can pick it up here.

Guest Post by Suzanne Burdon, author of ALMOST INVINCIBLE

October 31, 2015 / Kyle Wendy Skultety / 0 Comments

We will be reading and reviewing Suzanne Burdon‘s book at a later date, but in the meanwhile the author was kind enough to write this guest post for us! It’s quite apropos for the holiday.

Halloween – ghoulies and ghosties and long-leggedy beasties and things that go bump in the night. Whatever the early pagan or Christian origins of All Hallows’ Eve, the creatures of the netherworld are now thoroughly celebrated or lampooned, depending on your perspective, on October 31st. These are the creatures of the ‘natural’ world, but on a stormy night in 1816, Mary Shelley conceived a man-made monster that was to capture the imagination of generations and spawn many ‘hideous progeny’.

On All Hallows’ Eve in 1831, the Frankenstein novel that most people read today, was reprinted and published in a one volume popular format instead of the three volumes usual for the time, which gave it an even wider audience. The novel had already had considerable success since it was originally released in 1818 and almost immediately captured the popular imagination. Its fame was boosted by stage adaptations, notably Presumption; or, the Fate of Frankenstein, which played at the Royal Opera House in London in 1823. Mary went to see the production and though she admitted that they had not followed the story closely, she thought it was well done. There were thunderstorms and a collapsing glacier and the monster was so suitably scary that women in the audience fainted.

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It is lucky that Mary was not precious about the representation of her work or she would surely be endlessly rotating in her grave. The themes and imagery from the novel have been recast into cartoons, music, plays, comedies, TV series and almost a hundred movies. The most iconic representation was of course Boris Karloff as the monster in the 1931 Hammer Horror movie adaption, with the monobrow and bolts through his neck. Frankenstein’s screen history started in 1910 in the first silent film from Edison studios and continues with new 2015 movie with James McAvoy and Daniel Radcliffe.

The story has been analysed and intellectualised endlessly, but the common, horror aspect of most incarnations has been the creation of an animated monster by human agency, and the failure to control it thereafter. Victor Frankenstein is a mad scientist who plays God and then refuses to take responsibility for his creation. The vulnerabilities of the characters and the moral and social implications of the original story are mostly marginalized. The abiding horror is contemplating human vanity and frailty.

Mary Shelley was only eighteen when she started her story and it was composed on a wild and stormy night in mid summer in Lord Byron’s villa on the lake at Geneva. That year, 1816, was known as The Year Without a Summer. Mount Tambora in Indonesia had erupted spectacularly – it was the largest volcanic eruption in recorded history – and Europe was blanketed in dust. People thought the end of the world had come. It was a suitable backdrop to the creation of a gothic story as Byron, Mary and her lover, Percy Bysshe Shelley, her stepsister Claire and Byron’s doctor, Polidori, huddled around the fire reading ghost stories. Byron then threw out the challenge for each of the company to try their hand at the creation of something frightening.

Mary had felt enormous pressure to validate her genes and produce a literary work of value, but until Frankenstein she had struggled to find the right outlet for her creativity. So Mary’s response to the challenge was inevitably more than a simple scary story. Her parents were both radical authors; her mother wrote A Vindication of the Rights of Woman and is considered an early feminist and her father, William Godwin, wrote a groundbreaking anti-establishment book called Political Justice. So writing something that had social meaning was not surprising.

The scientific context of Frankenstein is more unexpected but was a result of her relationship with Shelley, the poet. When she eloped with him, Mary hadn’t realised the depth of his passion for chemical experiments, nor the potentially lethal impact of his obsession on working papers, tabletops or cushion covers, as smoke rose and glasses full of foul-coloured liquid shattered. Wires and crucibles of liquids would appear on the parlour table alongside the solar microscope and the extremely thumbed and stained copy of The Elements of Chemical Philosophy by Humphrey Davy. It didn’t add to their acceptability to landladies, but it did add to her inspiration for the science in Frankenstein.

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In the 1931 edition, published on October 31st 1831, Mary added a new preface where she explained the circumstances in which the novel had been conceived. By that time, Shelley was dead and she was largely supporting herself with her writing. Her other novels were ‘by the Author of Frankenstein’. Frankenstein and his monster have passed into popular culture and show no signs of diminishing impact. Indeed with current forays into gene modification and limb replacement, it is still, potentially, very much a modern horror story.

Suzanne Burdon: Author of Almost Invincible, A Biographical Novel of Mary Shelley

invincible