Ghostland lunch box - Ohio Art Inc. (1977)

seen from Maldives
seen from Switzerland
seen from Ireland
seen from Switzerland

seen from Malaysia
seen from United States
seen from China
seen from Türkiye
seen from Türkiye
seen from China
seen from China
seen from China

seen from Singapore

seen from Germany

seen from Germany

seen from Australia
seen from Australia
seen from Yemen
seen from China

seen from Malaysia
Ghostland lunch box - Ohio Art Inc. (1977)
Like The Modern Antiquarian, Ghostland (2020), by Edward Parnell, is a guidebook. A strange and multifaceted one. Let’s start with the ghost stories, both written and televised. Parnell, in the context of this book, is fairly obsessed with them, their writers and their relationship with the topography of their settings. He makes a broad survey, looking at the work of authors like M.R. James, Arthur Machen, Alan Garner, William Hope Hodgson, Charles Dickens, Walter De La Mare, Algernon Blackwood, E.F. Benson as well as television programs and films like Penda’s Fen, Robin Redbreast, Wickerman, the Quatermas series and the terrifying public service announcement Lonely Water. (Is this psychogeography? That term is usually applied to urban landscapes, I think, but it feels appropriate here, but I am not sure because I’ve never been able to get through an Iain Sinclair book). On this level, the book works as an excellent primer for British folk horror and weird tales. My to-watch list grew by feet reading this. Y’all gotta dig into the original Ghost Stories for Christmas, I’m telling you (I’m mostly unimpressed by the modern Mark Gatiss resurrection, though).
Be warned, however, there are two additional narratives intertwined with Parnell’s fiction-related travels. He’s an avid birder (I’m a much lazier birder, but I found myself envious of the energy Parnell is willing to devote to his hobby), a hobby he pursues with his brother and looms with increasing significance as he navigates a series of tragic deaths in his family. In this way, Ghostland is a cathartic memoir and Parnell’s investigation into ghost stories takes on larger implications. This makes the book dififcult reading in some points, particularly near the end, but it stands as one of the most moving pieces of creative non-fiction I’ve read. I find myself thinking about it often.
I should note Richard Wells’ excellent cover art that references the fiction Parnell pursues and establishes the mood quite nicely. Each chapter gets a little illustration as well.
Ghostland fruits
1. Wispfruit
Flavor: Cool mint and lychee with a hint of foggy sweetness.
Fun Feature: Disappears into mist if not eaten quickly.
2. Spookleberry
Flavor: Blackberry mixed with a zing of sour apple.
Fun Feature: Giggles softly when picked.
3. Booquince
Flavor: Pear and vanilla, with a slight chill.
Fun Feature: Emits soft ghostly hums at night.
4. Phantom Fig
Flavor: Sweet fig with a mysterious plum undertone.
Fun Feature: You only see it in the corner of your eye… until you look
5. Glowbite Apple
Flavor: Tart green apple and dark cherry.
Fun Feature: Glows brighter with each bite until it vanishes in a puff.
6. Creepear
Flavor: Smoky caramel with soft pear.
Fun Feature: Whispers soft secrets when peeled.
7. Screamelon
Flavor: Sweet cinnamon melon.
Fun Feature: Lets out a tiny squeak or scream when cut open.
8. Ghoulgourd
Flavor: Pumpkin spice and icy grape.
Fun Feature: Can be used to summon friendly ghost projections for a few seconds when cracked open.
31 DAYS OF HORROR ↳ 26. ghostland (2018)
Always the ghosts.
Edward Parnell, opening and final line to Ghostland (William Collins 2019)
image from here
ghostland (2018)