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Our editorial coven shares a monstrous appetite to make horror scholarship accessible, affordable, and inclusive.
Join our #PrintIsUndead community — if you dare...
“I delight in what I fear.”
― Shirley Jackson
’Tis the season for spooky stories… which is why this year’s HoL-iday Writual set is the perfect gift for horror-loving readers.
Our Writual collections curate spooky stationery sets that encourage mindful reading and writing. Lovingly infused with the magic of literary holiday traditions, particularly seasonal ghost stories and Jólabókaflóð, they encourage the Writual of unplugging to prioritise good company, books, and treats.
We adore both traditions at HoL: the spine-tingling Victorian custom of sharing ghost stories under the glow of holiday lights, and the beautiful simplicity of gifting loved ones books on 24th December, before spending the evening reading together with chocolatey treats, as per the Icelandic custom of Jólabókaflóð (’Yule book flood’).
This year’s collection continues this intentionality: encompassing four bookmarks, the set is designed to be part of your reading and writing experience. Their versatile size is designed for creativity: perfect for prints, postcards, special gift tags, keepsakes (e.g. holiday recipe cards), organising annotation notes, and so much more…
Designed for fans of 1960s and ‘70s horror, Jessica Rose’s striking line-art brings four iconic horror houses to life, decorated for the holidays… dare you bring them home?
BOOKMARKS
A GOOD OLD TRANSYLVANIAN CHRISTMAS
If you think your family is weird... spend this Christmas with the Munsters!
Home to the first family of frights, the Munster Mansion at 1313 Mockingbird Lane features white and signature green lights, with a green background and accents on the reverse.
THE NIGHT HE CAME HOME… FOR THE HOLIDAYS
After being vacant for so long, the Myers House has been lovingly decorated in Michael’s favourite colours — a nifty psychological trick to lure him home by the one and only Dr Samuel Loomis (the gun-toting bald guy in the trench coat, who was always hiding in bushes. He had that huge hit, “Hey, Lonnie: Get Your Ass Away From There,” but his singing career never really recovered after single-handedly causing the horrific and completely avoidable death of 17-year-old Ben Tramer in Halloween II…).
The Myers House features white and orange lights on a black background — a nod to the 1978 poster — with orange accents on the reverse.
WE ALL GO A LITTLE MAD (OVER THE HOLIDAYS)…
The Bates House may be home to just two people — a boy’s best friend is his mother — but that doesn’t mean the Bates family hasn’t gone all out with the holiday decor. They’ve even decorated the fruit cellar...
The Bates House features white and blue lights on a blue background with blue accents on the reverse.
GET OUT… THE DECORATIONS!
Ironically named High Hopes, the infamous house from The Amityville Horror features white and red lights, on a dark red background, with red accents on the reverse.
Keep staring and you may see the glowing red eyes of Jodie the pig in one of the iconic windows…
SPECS
Size: 14.8 x 10.5 cm (A6)
Here at HoL, we like them big and beautiful, and our 2025 bookmarks are no exception — perfectly sized to match our books!
Double-sided, full colour
With space on the back for recording memories, writing notes, or annotation
Premium 300gsm stock
Sturdy and durable feel, while light enough to ensure your pages aren’t damaged
Rounded trim
For comfort and care — not only beautiful to look at and hold, but kind on your book!
Horizontal + vertical orientation
Bit of a holiday mix — all designs horizontal apart from the Bates House
Four original designs by featured artist Jessica Rose:
The Munster Mansion (The Munsters, 1964–1966; The Munsters’ Scary Little Christmas, 1996)
Bates House (Psycho, 1960)
Myers House (Halloween, 1978)
High Hopes (The Amityville Horror, 1979)
THE NAUGHTY LIST
The bookmarks look BEAUTIFUL paired with our horror anthologies, Scared Sacred and Filtered Reality…
And for THE seasonal stationery gift, pair with our HoL-loween Writual set: four Hellraiser-themed cards designed by featured artist John Sowder, with luxe black envelopes and metallic gold pen. Only a few left!
We’ll be posting orders until December 16; please note that any orders placed after this date will be processed in the new year — see you on the other side!
![Scared Sacred: Idolatry, Religion and Worship in the Horror Film [paperback]](https://images.squarespace-cdn.com/content/v1/5a89e7c6be42d637c550369c/1646591781203-WCXBEN14HYKYZ00C9GYS/200888476_2976871865891643_6461187700538870201_n.png)
About
Scared Sacred is the first anthology in a small series exploring the complex relationship between religion and the cinematic church of horror.
Featuring a foreword from Hellraiser's Pinhead, Doug Bradley, each first-edition paperback (limited to 500 copies) comes with a numbered certificate and reversible page marker.
The collection's sixteen chapters dissect your favourite films through a critical lens, with subjects ranging from:
—the Medieval witch (Häxan) to Korean Shamanism (Whispering Corridors);
—gender politics in Buddhism (Onibaba) to race politics in 1970s America (Ganja & Hess);
—and demonic warfare (The Amityville Horror;The Conjuring) to the horror of faith (The Exorcist III).
Along with sixteen original chapter illustrations in a woodcut style (by John Sowder), the stunning cover art (by Jeremy Thompson) is embellished in classic silver foiling.
If you would an electronic version of Scared Sacred, the eBook is available on the Kindle store.
Contents
Foreword
by Doug Bradley
Introduction
Reading Religion in the Dead of Night
by Douglas E Cowan
Section One: Christianity
Onward, Christian Soldiers: Eyes of Believers in The Conjuring (2013) and The Conjuring 2 (2016)
by Alexandra West
“I don’t know if we’ve got the heir to the Thorn millions here or Jesus Christ himself”: Catholicism, Satanism and the Role of Predestination in The Omen (1976)
by LMK Sheppard
As God Is My Witness: Martyrdom in Modern-Day Horror
by Andrea Subissati
The Last Sin Eater: The Purgatorial Testament and Redemption of the Hell Priest in the Hellraiser Mythology
by Rebecca Booth
Section Two: Mysticism
Needful Things: Buddhism and Gender in Onibaba (1964) and Nang Nak (1999)
by Erin Thompson
Between Two Worlds: Regression, Restitution and Soul Transmigration in The Dybbuk (1937) and Demon (2015)
by Rebecca Booth
From the Stake to the Sanitarium: Taming the Disruptive Feminine in Häxan (1922) and Antichrist (2009)
by Valeska Griffiths
Monstrous Realism: Irreligious Religion in Lovecraft’s Cosmic Horror
by Anya Stanley
Section Three: Occultism
“Not everything that moves, breathes and talks is alive”: Christianity, Korean Shamanism and Reincarnation in Whispering Corridors (1998) and The Wailing (2016)
by Frazer Lee
Deprogramming the Program: The Image and Anxiety of the Religious Cult in the Made-for-Television Film
by Amanda Reyes
I Believe in Death: William Peter Blatty and the Horror of Faith in The Ninth Configuration (1980) and The Exorcist III (1990)
by Samm Deighan
The Last Temptation: Demonic Warfare and Supernatural Sacrifice in The Amityville Horror (1979) and When the Lights Went Out (2012)
by Erin Thompson
Section Four: Beyond Belief
A Taste for Blood and Truth: Bill Gunn’s Ganja & Hess (1973)
by John Cussans
Zoolatry and the Feline Fatale: Obsession, Femininity and Revenge in Cat People (1942) and Kuroneko (1968)
by Joseph Dwyer
Faith and Idolatry in the Abrahamic Religions: Security Through Symbols in Şeytan (1974) and Jinn (2014)
by Neil Gravino
Prophetic Voices and the Lethal Hand of God: The Religious Zealotry of Frailty (2001)
by Chris Hallock
About
Filtered Reality is our love letter to found footage horror.
Featuring a foreword from Stephen Volk (Ghostwatch) and an introduction by Aislínn Clarke (The Devil’s Doorway), the book's sixteen chapters are divided into two sections — Progenitors and Evolution — to chart the genesis of the contemporary found footage horror film.
The first section includes influences such as epistolary Victorian horror novels (Dracula), radio hoaxes (The War of the Worlds), and the mondo film (Cannibal Holocaust), before the second explores subjects ranging from digital folklore (The Blair Witch Project), to video games (Resident Evil), to post-cinematic horror (Host) — and what lies beyond...
The first-edition paperback is limited to 500 copies (complete with a numbered certificate) and features original section illustrations and detailed monochrome cover art complete with UV spotting. Each order comes with a reversible bookmark.
If you would prefer an electronic version of Filtered Reality, the eBook is available on the Kindle store.
Contents
Foreword
by Stephen Volk
Introduction
Hex, Lies and Videotape: The Magic of Found Footage Film
by Aislínn Clarke
Part One: Progenitors
“Your Letters Are Sacred to Me”: Dracula (1897) and the Epistolary Horror Novel
by Samm Deighan
Irony Is a Dead Scene: Audience Position and the Pursuit of Dramatic Irony in La Compagnia del Grand-Guignol, the Giallo Film and Found Footage Horror
by Matt Rogerson
The Spirit at One’s Elbow: Denis Johnston, Orson Welles and Interrupted Radio
by Reggie Chamberlain-King
Forbidden Files and Ghostwatching: Television, Truth and Transgression
by Alexandra Heller-Nicholas
“See Hangings and Electrocutions”: Early ‘Execution’ Films as Progenitors of Found Footage Horror
by Jon Towlson
Cannibalizing Ethnographic Film: Anthropology’s Complicated Relationship with Found Footage Horror
by Gavin Weston, Ricardo Leizaola, and Justin Woodman
You’ll Only Believe Your Eyes if the Camera Work is Lousy: A Survey of Found Footage Bigfoot
by John Kenneth Muir
Infopocalypse Now: Hoaxing as Social Disruption in The McPherson Tapes and Beyond
by Rob Skvarla
Part Two: Evolution
“The Medium Is the Message”: The Evolution of American Folklore Through Found Footage in The Last Broadcast (1998) and The Blair Witch Project (1999)
by Jessica Rose
Emblazoned Eve: Embodied Spectatorship, Material Feminism and Monstrous Religiosity in REC (2007) and The Devil’s Doorway (2018)
by Rebecca Booth
Fact or Fiction: Layering Media to Construct the Illusion of ‘True’ Crime in The Poughkeepsie Tapes (2007) and Lake Mungo (2008)
by Mary Beth McAndrews
Behind Every “Marked” Man Is a Great Coven: Hauntology, Matrilineality and the Accelerationist Specter of Becoming in the Paranormal Activity Series
by Rebecca Booth and Valeska Griffiths
The Mechanical Uncanny: Social Media and Digital Doubles in Unfriended (2014) and Cam (2018)
by Dawn Keetley
Welcome to Hell (House): Haunted Attractions and the Culture of Excess in The Houses October Built (2014) and Hell House LLC (2015)
by Peter Turner
Fear and the Ludic Subject: Phenomenology, the Body and Horror Video Games
by Daniel Vella
Screaming Services: The Audience, the Egregore and Post-Cinematic Horror in “Dear David” (2017-2018) and Host (2020)
by Valeska Griffiths
As summer turns to fall and the air becomes cooler, we feel a growing temptation to stay indoors with our books and pens. To celebrate the return of autumn and the release of the final instalment of the Conjuring series, The Conjuring: Last Rites, we’ve conjured the return of one of the most coveted items from our 2024 HoL-loween Writual collection: our silver Annabelle-inspired Warning, Positively Do Not Open notebook!
Designed to help our fellow horror-lovers focus their thoughts, engage in mindful reflection, and build productive creative routines, this elegant and subtle notebook is the perfect conduit for writers who aren’t afraid of a little demonic possession, and readers who crave a more exciting home for their to-do lists!
FSC-certified and containing 192 cream-coloured lined pages, the silver hardcover is complemented by a silver silk ribbon and elastic fastener, so you never lose your place. The built-in storage compartment will hold your stickers, tabs, and all those ‘Miss me?’ notes you keep finding…
Details:
14.5 x 1.5 x 21 cm
192 pages (80 g/m²)