Cover of Blood Moon Over Glastonbury

Blood Moon Over Glastonbury

Horror · 392 pages · Published 2024-09-17 · Avg 3.3★ (6 reviews)

What if a blood-soaked uprising beneath Glastonbury Tor rewrote the legends of saints and kings? Blood Moon Over Glastonbury is a terrifying descent into pagan lore, patient vengeance, and immortal revolt set against the ruin of an English holy place in the sixteenth century.

Somerset, autumn 1539. The abbey bells are silenced and its treasures pried loose by Commissioner Edward Southcote, the King's hard-eyed hand. Elowen Weaver, a dyer's daughter bound to the abbey workshops, and her betrothed, John Cuther, a thatcher with a broken back from press-gang labor, scrape by under tithes and threats. The Levels are a labyrinth of reeds and water; to flee is to drown or be hunted by riders from Wells. On the night the relic of Joseph of Arimathea is hauled from its shrine, a hidden door yawns in the chalk beneath the White Spring. From the wet dark steps a stranger called Mabon, a pilgrim who knows the old paths within the Tor and speaks the language of stones.

Mabon is no saint. He is the last memory-bearer of the Graelings, a people who drank the moon from red rock and kept the gate of Annwn when Britain was young. Fire and salt nearly ended them: pyres in Rome, lye in wells, iron nails in throats. He has walked centuries with a single vow: reopen the gate beneath the Tor and restore the court that once demanded tribute of kings. In Elowen he sees a heart that will not break; in John, a rage that will not cool. He offers them a bitter draught mixed from the Red Spring and White Spring, a sacrament that heals the body while waking a hunger older than scripture. Take it, he whispers, and the King's men will learn new fear.

By moonrise, the night-fed have a congregation. Tanners, herdsmen, seamers—those starved by enclosure and levy—come to the spring, and come away with eyes that gleam like wet slate. Southcote marshals archers at the Market Cross, sends boys with buckets of brine to foul the wells, and strings up a novice as warning. Agnes Prynn, a midwife who kept the old blessings, begs Elowen to refuse the Graeling bargain; the venom of the moon cannot keep a hearth warm, she says, it only burns it down. But Elowen believes only iron can answer iron. When John, swollen with new strength and thirst, would kneel to Mabon to birth the Graeling court under the Tor, Elowen must decide whether to strike at the gate itself. Pilton Fair becomes a charnel of lanterns and scythes. Wells Cathedral echoes with a hymn in a tongue lost to parish and prince alike. The Holy Thorn drips sap like blood, and the River Brue runs red as dye.

Mabon was never a savior; he was a lock searching for a key, and Elowen is the key. To stop him, she must salt the White Spring and burn her own hunger clean, even if John crumbles in her arms like chalk in rain. The uprising that flares across the Levels will not be recorded as miracle or massacre but as something older and truer. Only one thing is certain: upon the Tor, and across the drowned fields beyond, blood will spill.

Lucy Thornton was born in Somerset in 1986 and grew up in the shadow of Glastonbury Tor. She studied archaeology and heritage at the University of York and spent her twenties cataloging medieval textiles and guiding visitors through the ruined precincts of Glastonbury Abbey and sites on the Somerset Levels. After several years as a museum educator and archival researcher in Wells, she turned to writing full-time. Her short fiction has appeared in a range of small-press magazines and anthologies, and her essays on British folk belief and sacred landscapes have been featured in regional history journals. Thornton lives in Frome with her partner and a black lurcher named Thorn, and she continues to volunteer with local conservators preserving the chalice well gardens and monastic remains.

Ratings & Reviews

Priya Lozano
2025-08-12

For readers of historical folk horror who appreciate damp atmospheres, ritual language, and moral knots, this delivers. The sixteenth-century setting feels tactile without museum gloss, and the holy-vs-pagan conflict coils tight.

Content notes include blood rites, hangings, brief torture, body horror around wells, drowning imagery, and communal violence. Strongly adult themes throughout.

Tamsin Rowe
2025-06-18

The book circles enclosure, sacrilege, and righteous anger, asking what justice looks like when the prayer book is a ledger. The idea that "iron can answer iron" gives the novel its moral hinge: vengeance as a tool forged by the oppressed, potent yet corroding. Some passages sing, others stumble under repetition, but the argument lingers.

Giles Hart
2025-04-02

The Levels are a swamp of sound and smell, and the holy sites loom with real menace, but the lore of the Graelings stays frustratingly foggy. Rules around the moon draught, the gate beneath the Tor, and the limits of salt and brine feel improvised, which makes pivotal confrontations read murky instead of fated. I wanted the mythic scaffolding to be as clear as the atmosphere, because the stakes deserved sharper edges.

Sofia Nwosu
2025-01-15

Elowen begins as a worker scraping dye from skin and slowly reveals a bone-deep stubbornness that never reads as bravado. John is most compelling when the book lets him rage and doubt without flattery, a man aching to be made whole even at terrible cost.

Mabon is the chilling pivot, not a mustache-twirling villain but a memory-wearied survivor whose persuasion feels like prayer turned knife. Together they form a triangle of need and betrayal that drives the story more than any crown decree.

Colin Batra
2024-10-07

The prose leans into an archaic cadence that suits the reeds and ruins, and the imagery around the Red and White Springs feels carefully stitched. The alternating focus on Elowen, John, and Mabon sometimes blurs scene objectives, and the middle third lingers around Pilton Fair long enough that tension loosens before the final movement. Still, the closing patterning of motifs (salt, chalk, hymn) lands with satisfying symmetry.

Mara Devlin
2024-09-21

Relentless and moody, this Tudor horror marches from silenced bells to torchlit revolt with a tidal pull that never lets the Levels or the reader rest.

Generated on 2025-08-21 17:01 UTC