Filipino horror stories have captivated generations, interweaving elements of local folklore and mythology. These stories, which include demons, haunted houses and apparitions of women in white, stand out for their originality and cultural depth. In Philippineshorror is more than a literary genre: it is a bridge to the beliefs and traditions of its ancestors, imbuing readers with a dark nostalgia that resonates with their cultural identity.
The talent of some Filipino authors has turned these stories into artistic manifestations with national and international recognition. Among them stands out Yvette Tan, an award-winning writer and screenwriter who has left a mark on Philippine horror fiction. His work is characterized by presenting spooky stories and dark atmospheres that explore the essence of the paranormal. Tan’s narrative, which includes titles such as Ilawod (a film nominated at the 2018 Star Awards for Movies) and his book in Tagalog Kaba: 50 Maikling Kwento ng Kababalaghan at Katatakutanhas inspired a generation of young readers and writers who seek in horror a way to explore the fears and mysteries of their land.
Tan approaches the genre from a unique perspective. For her, terror is not limited to a literary genre, but is, as the American writer Douglas Winter says, “an emotion.” This approach underscores his ability to evoke fear and suspense through his stories, without relying on traditional horror clichés. In his work, Tan explores both supernatural horror and more human fears, showing that the terrifying can emerge both from a specter on a dark night and from the shadows of our own minds.
One of the most interesting aspects of Filipino horror literature is its ability to seamlessly incorporate mythical creatures and local context. In his stories, Tan takes advantage of figures from Filipino folklore such as the aswanga shape-shifting creature that feeds on blood, and the tikbalanga half-human and half-horse being who wanders through the forests. These figures not only enrich their stories, but connect them deeply to Filipino culture, providing readers with a unique experience where the past and present intertwine. Tan describes this approach as an immersion in Filipino mentality and customs, a characteristic that he believes distinguishes local terror from that produced in other regions of the world.
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Through her stories, Yvette Tan demonstrates that horror writing can be both an exercise in imagination and an introspective journey. One of his stories, titled Seek Ye Whorefirst published in 2008, is based on a play on words between English and Tagalog, reflecting the cultural duality of the Philippines and Tan’s ability to find inspiration in the familiar. This work, like many of his stories, highlights Tan’s creativity in reinterpreting folklore and creating narratives rooted in the local context.
Tan’s creative process is meticulous, detailed and somewhat slow, as she herself acknowledges. However, his dedication and commitment to the genre have made his work a benchmark in Philippine horror literature. By combining new and old stories in his collections, Tan creates a bridge between the past and the present, keeping alive the essence of Filipino myths while exploring modern fears.
One of the most interesting aspects of Filipino horror literature is its ability to seamlessly incorporate mythical creatures and local context.
Despite his experience in the genre, Tan admits that he is still an easily scared person, especially when it comes to hearing ghost stories in real life. This contradiction between his literary bravery and his susceptibility to everyday fear is proof that terror not only lives in the pages of his books, but extends to his own life.
For those who aspire to write horror, Tan offers some candid advice: write what you want to write, regardless of whether the genre is popular or not. She herself started at a time when horror was not common in Filipino literature, and although it was difficult to gain acceptance at first, she now enjoys an audience that appreciates her unique vision. Quoting Carl Jung, Tan recalls that “if you work sincerely, unknown friends will come looking for you,” a mantra that has guided her career.
With her third book of short stories on the way, Yvette Tan continues to establish herself as an indispensable voice in Philippine horror. His ability to capture the essence of the supernatural and the spirit of Filipino folklore has made his works a testament to the cultural richness of the Philippines, proving that fear can be as fascinating as the stories we were told as children.
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