‘The Great Scarecrow In Days Long Ago’: Gothic Myths and Family Festivals
Juliette Wood

‘I have a proposition to make. Here you are an honest and willing boy. And here am Ia scarecrow of enterprise and vision. What would you say if I offered you the positionof my personal servant.’ Thus Jack begins his adventures with a turnip-headed
scarecrow brought to life by a bolt of lightning. Philip Pullman’s story for young
readers, The Scarecrow and his Servant, (Pullman 2004) turns the traditional Jack taleon its head. Jack is still resourceful young hero who saves the day from thehopelessly impractical enterprises of his scarecrow companion, but in this situation,
the human boy takes the role of helper, while the creature brought to life by asupernatural event is the master. Pullman’s stories always invite readers to explore
other layers of meaning, and the reversal in this delightful tale could equally be a
metaphor for the changing cultural role of the humble agricultural scarecrow figure.
These collections of old clothes hung on sticks were once a familiar sight in the
countryside. Variously called tattie doolies, bogles or scarecrows, these effigies wereplaced in fields of growing crops to discourage unwanted wildlife. As the evergrowing cities demanded more food and greater agricultural production, these figures
were replaced with more efficient devices, like automatic noisemakers. Scarecrows,
however, have made a comeback. They are no longer just a pragmatic agricultural
device, they have been absorbed into the symbolism of gothic and horror literature,and more recently have become symbols of our changing attitudes to Nature and tocommunity as embodied in the countryside and its way of life.
What is it about the scarecrow that gives it this potential? Does it depend on its
position in folk culture, an ancient meaning or a ritual usage? Or is it that we have reinterpreted the figure in terms of later cultural models? The answer is probably a
combination of factors. Whatever the origin, the changing function of the scarecrow
is expressed in new ways creating modern craft festivals and, more problematic, anincreasing range of anthropomorphic and gothic figures in literature and popular
culture.
The most widely known English term for these figures is scarecrow, but other, moreregional terms, such as bogle, doolie and occasionally mommet or mawhini are used todescribe such figures. Most of the citations in the Oxford English Dictionary date to
the sixteenth century and later, but there can be little doubt that scarecrows were inuse much earlier. The terminology reflects both the function and nature of theseeffigies. The term ‘scarecrow’ reflects its role exactly and could be applied to aperson who was employed to perform the task of keeping birds and other predators
out of the fields as well as the figure. The same is true for doolie, if one takes this tobe a variant of dole (marker). The rare Berkshire dialect word, hodmedod, refers to asilly person, while mommet reflects the construction, something made of rags like amop. Bogle is the only term with even a suspicion of the supernatural about it. The
exact origin of the word is unclear, both bwg (Welsh for ghost) and German boggelmann are possible suggestions. Bwgan is a common word for scarecrow in Welsh(Davies 2000) as is bodach in Scots Gaelic (MacFhionghuin 1951), but this does

really explain why a word with apparent supernatural overtones should be applied to
the field figure. By contrast, the terms are often used to refer to something that is notreally frightening, and in one of Shakespeare’s play, Henry VI, a character speaks
dismissively of “the Scar-crow that affrights our children” (Act I, sc. iv).
Scarecrows belong to a class of ephemeral figures such as effigies, corn dollies andvarious seasonal figures, and it is easy, perhaps too easy, to transfer traditions from
one to the other. (Haining 1988; Neal and Parker 1969; Bechtold 2001) The Jack-aLent was a small stuffed effigy pelted as part of a Lenten game. In Shakespeare’s“Merry Wives of Windsor”, Falstaff calls the young servant Robin by that name andlater when he is disguised as Herne the Hunter says that he too feels like a figure
being pelted (Act III, iii; Act V, v). In some Slavic countries, a colourful straw figure,called a Kostroma, is burned at the end of the carnival season, and there arecomparable customs elsewhere. It has become a standard assumption of romantic
folklore that such figures are substitutes for ancient human sacrifices, but there is no
solid evidence for this. Such romanticised notions attribute ‘ancient’ origins to allkinds of modern customs, playing on our fondness for linking past and present inimaginatively satisfying ways. There is undoubted crossover with other peripheral
figures. The similarities however underlie attitudes to a wide variety of ‘marginal’
activities and need not be explained by anything ancient, especially when there is sucha wide gap between existing information and a supposedly early ritual complex. JackO-Lantern, the stingy trickster of Irish and British folk legends is one of many figures
doomed to wander between both heaven and hell. Initially he carries a light in a turnip
or pumpkin, but eventually his head becomes the lantern. Philip Pullman’s scarecrow
character has a pumpkin head and Frank L. Baum created a character called Jack
Pumpkinhead who appeared in several Land of Oz books. He was originally createdwith wooden sticks for a body, a carved pumpkin head and cast off, but very natty,
clothes to scare a witch. However the witch brought him to life and, riding his trusty
sawhorse, he accompanies a young boy on a series of adventures. Like the betterknown Scarecrow of Oz, his character is a mixture of naivety and commonsense. The
naughty trickster-like facets of these characters are both part of their appeal and oneof the factors that make scarecrows so easy to fuse with seasonal and traditional
figures like Jack-O-Lantern. Not surprisingly Kermit takes the role of the Scarecrow
in the Muppet Land of Oz, while Jack Skellington, sepulchral, skeletal and scarecrowlike all at once is a modern example of the well-intentioned, but hopelessly naïve
trickster who gets in over his head.
Permanent effigies of the dead were carved on tombs or monuments, but life-size
funeral effigies made of wax or with wax faces and stuffed bodies were sometimes
displayed at the funerals of important persons. Mourners could view these effigies andleave tokens, poems, notes or the like, a custom paralleled by the modern condolencebook. A number of these, including the effigies of several monarchs still exist among
the splendid collection held at Westminster Abbey (Harvey and Mortimer). As a formof political and social symbol an effigy could carry a powerful meaning, especiallywhen it was the target of public ridicule or burning. The November ‘guy’ created inmemory of Guy Fawkes is the best-known example today, but burning effigies of the
Roman Pope was popular in parts of Britain and Ireland in the aftermath of the
Glorious Revolution (Cressy 1989). The celebration of Guy Fawkes Day in Lewes in
Sussex still culminates with effigies being paraded through the streets, and the choiceof subjects reflects a continuing use of such effigies as a form of political and social

comment. Mrs Thatcher, for example, got the bonfire treatment in the 1980s.
Originally the observance of Guy Fawkes Day had a distinctly Protestant overtone,
but burning effigies was, and still is, associated with fiesta and carnival celebrations
in Catholic countries where figures made of papier maché or straw are blown up by
fireworks or burnt. Political protest or social comment is sometimes a factor here, but
the religious context of these festivals has changed, giving way, by and large, to asecular celebration of local or national identity. The Jack a Lent, and related customs,
may have had a penitential as well as a play element, but there is no evidence thatthey had a pagan origin, even less that a stuffed figure was a substitute for a humansacrifice. The burning of effigies in religious rituals can signal an intention to banish
something, and the symbolic burning of the thing the effigy represents may be anelement in both political demonstrations and annual community celebrations. These
activities really need no further explanation, certainly not in terms of ancient sacrifice.
There is always a danger in taking metaphors too seriously and too far. If postmodernism tells us anything, it is that we can create complex thought worlds without
having to search for an ancient reality.
However, the idea that these figures are survivals of ancient pre-Christian fertility
customs remains a popular explanation of their origins. This explanation was amainstay of early folklore studies, still remains central to certain popular approaches
and is guaranteed to irritate anthropologists and professional folklorists alike (Judge
1991). James Fraser and his speculations about a dying god linked to a universal
agricultural myth have a lot to answer for in creating an emotionally appealing, but far
too glib a model to apply to these customs (Segal 1998). There is insufficientevidence to suggest that scarecrows were anything other than a useful measure tocontrol animal pests in an agricultural setting, although many of them no doubt ended
up on end-of season bonfires. Other ephemeral figures have other shades of meaning.
Corn dollies were lucky talismans for future crops, but here again the idea of sacrifice
is a result of early scholars interpreting the beliefs surrounding then as quaintsurvivals of ancient practices and assigning meanings. Despite the lack of proof thatthese ephemeral figures were once connected to a pan-European agricultural myth, themeaning of the figure does change as the agricultural purpose changes or becomesobsolete. Even if it is not a survival of primitive ritual, it can still be a symbol for aworld long past or, more romantically, for a bucolic utopia that never existed.
Caesar’s famous Wicker Man was, for him, proof of Celtic barbarity. For us it is acult film and increasingly a symbol of local connectedness. Wicker figures have beenused as landscape sculpture or burned as part of local celebrations (Country Life
1995). Butzer Iron Age farm has burned a wicker figure as part of its highly
imaginative Beltain festival, and the Burning Man art festival in Nevada encourages
radical artistic self-expression that ends with the burning of a modern wicker figure.
Caesar’s engine of sacrifice has become a means for constructing and expressing a
range of modern identities.
The humble scarecrow however is fast catching up to its more glamorous cousins.
Scarecrow festivals are a comparatively recent phenomenon, but they are multiplying
fast. They are frequently linked to established holidays, such as Halloween or autumn
harvest celebrations, in North America, and to summer bank holidays, themselves
replacements for harvest festivals, in Britain, Europe and Australia. Often they takeplace in smaller towns and villages located in areas which have been directly affectedby changing agricultural production. There are a number of such festivals in, forexample, Illinois and Michigan, (celebrated in October) Kettlewell, Yorkshire(July/August), the Loire Valley (early August), Milton, New South Wales Kurragong,
Australia (August), Edmonton, Canada (Halloween). These are community-oriented
events with local merchants and local services, like the Fire and Police Departments,
acting as sponsors and organisers. Many have Internet sites to encourage outside
visitors and they provide parking amenities and sometimes charge admission fees.
However the emphasis is on family participation, family values and a community wayof life. My own collection of scarecrow ephemera has a number of advertising flyers
for festivals either too small to have an Internet site, or unwilling to attract too muchtourist attendance. The festival held at St Charles, Illinois, which recently marked its
twentieth year with a souvenir programme, makes the point that this (is) a “nonalcohol family fun festival” which implies a contrast with other celebrations as, forexample, Autumn beer festivals. The village of Thornton Hough has an annual
festival whose main event is to collect as large a number of craft-made scarecrows as
possible and whose profits go into the upkeep of the village. In Japan the kakashi
matsuri (scarecrow festival) has a quite different heritage. It is an autumn festival
which is part of the dense tapestry of Shinto celebration, and Kakashi matsuri arecelebrated all over Japan. The one in Kaminiyama is described by the Tokyo tourist
information website as a ‘homey festival in the middle of the busy city of Tokyo’,and, besides the traditional scarecrows, it also promises a karaoke contest and crafts
for sale. Here too there are echoes of a lost agricultural world viewed from theperspective of a modern metropolis.
Celebrating the scarecrow in contemporary life now takes in a new range of activities.
Contemporary culture has rediscovered the idea of craft, and the notion encompasses
far more than just the skills to make an object and the scarecrow has been transformed
into an object of folk art (Miller 2005). The Internet advertises courses in scarecrow
making, and festivals feature contests and costume parades to find the ‘best’scarecrow based on aesthetic rather than functional criteria, In these new contexts thescarecrow is appreciated honestly and without cynicism for the nostalgia it evokes
about a past which is gone, but can still be acted out and, of course, merchandised.
Arts and crafts exhibitions, demonstrations, competitions and sales are an integral partof scarecrow festivals. Certainly, they generate income. But, in addition, hand-madegoods have become an indicator of the resistance to globalisation and mass production
and a link with past community activity. Unlike crafts such as pottery or basket
weaving, scarecrow making seems to have been an occasional activity with nospecific set of skills. Interestingly although these festivals stress hand-made crafts in ashared community environment, many of them also market those ubiquitous talismansof modern popular culture, posters and T-shirts which fix an image and allow it to be
carried off. Despite this, the scarecrow in today’s world is able to link groups
symbolically to the land, to food production and a to a lost world of close-knit
communities practicing rituals both Christian and pagan. In this context the fact thatsuch things never existed is subsumed into an imaginative network of createdmeaning. The use of the scarecrow as a symbol of a utopian agricultural past occurs
regularly in an obvious commercial context. A themed shopping mall with the
evocative name, Peddler’s Village in Pennsylvania, for example organised ascarecrow festival. There are some lovely examples of artistic scarecrows on theInternet at a range of prices, but the advertising descriptions always express noncommercial values. Perhaps one of the most evocative commercial uses in recent
years is a semiotic dream of an advertisement created in 2005 by the cereal company,

Wheatabix. It features a Scarecrow who ‘has lost his scare’ and is adrift in a dark,rather barren landscape, but he is restored by the very cereal products he should be
defending.
In the United States, and this is undoubtedly true of other places, the scarecrow has
found a place in the ‘folk culture’ of the suburbs. An October contest organised by agarden centre offered gift certificates as prizes for the best scarecrow. Apart from thevery modern use of gardening as a way of maintaining contact with the earth in a
suburban world, the categories for the scarecrow entries are interesting. Submissions
were sought in three areas, ‘scary, funny or charming.’ Suburban houses often place
decorative figures of various kinds on lawns or porches. Many of these resemble theiragricultural forbears, although for the most part these urban scarecrows are plastic,purchased from a shop or catalogue, and reusable. They inhabit the spaces aroundresidential dwellings as if inviting friends to ‘cross’ the space and enter. In a very real
sense they embody the safe and neighbourly aspirations of suburban space, in contrast
to the isolation of urban dwellers, alone and subject to random crime. In all fairness,similar, although usually smaller, versions adorn urban windows balconies anddoorways.
The ephemeral nature of the scarecrow and his liminal position in social and temporalspaces has enormous semiotic potential. The figure has a special place in the seasonal
iconography of the United States. The scarecrow links the celebration of Halloween at
the end of October with Thanksgiving at the end of November, at which point it gives
way to another peripheral figure, the snowman (Andy Coghlan, New Scientist 1999).
Halloween is becoming increasingly important in commercial terms andThanksgiving has been a focus for American family values, since the holiday was
made official after the Civil War. Ephemera for these holidays have been produced
commercially since the turn of the twentieth century. While these commercial
ephemera characteristically depict the scarecrow as a cute boyish, and more recently
girlish, figure, the noble but isolated figure in Walter de la Mare’s poem captures theliminal attraction of the field scarecrow. In the poem, those who actually work theland are silent. The dense poetic diction that characterises de la Mare’s poetry is put
into the mouth of a scarecrow who watches the passing seasons. During winter nights,
the frozen creature “flames with glittering rime”, but in spring, the “void eyes…scan
the sky for crows,” and he gazes at “sun-begotten grain” which his “unflinching
watch hath sealed for harvest once again.” The stoic isolation of this created figure
implies a hint of ambiguity in its relation to the ‘other’ of the poem whom thescarecrow refers to as “my strange master, Man” (de la Mare 1969).
The concept of liminality is a productive way to understand the development of thescarecrow as a cultural image. It obviates the necessity for dubious survival
arguments that need to span centuries without data and it brings to the foreground lesscontroversial characteristics such as the scarecrow’s position on the margins ofcultural space. This is a disposable figure made of cast-offs, set up on cultivated land
to prevent the incursion of wild nature. Its similarities with other liminal figures
provide a rich source of symbolic reference, even if there are not credible historicallinks between them. As inhabitants of the periphery, the similarities between
scarecrows and other simulacra, like the golem made from clay, that are subsequently
brought to life become striking and even potentially disturbing. A life force which
gives the power of movement to simulacra without the controls exercised by reason orreal emotion is particularly frightening and such creatures have been prominent in thegothic literature from the eighteenth century to the present. Frankenstein’s original
monster was made of random body parts; E.T.A. Hoffmann’s diabolical Dr Coppelius
animated his automata with the stolen eyes, reflections and shadows of his victims.
The same fear of something which looks but is not human underlies Ridley Scott’s
Blade Runner (1982). The ‘skin-jobs’ are, in effect, high-tech scarecrows, and they
owe a great deal to Hoffmann’s Coppelius, They escape their ‘off world’ peripheryand run amok in a dystopic urban setting. Another variation of this motif occurs in
one of the stories in I Robot. The mechanical robot nanny feels real emotion for its
human charge and only the child realizes this. In children’s literature, the scarecrow
is usually a helper, presenting an opportunity for the main character to develop in
some way. This basic motif can be varied, as in Pullman’s tale, and as the scarecrow’s
meaning becomes more closely linked to our changing perception of nature themes
such as ecology (Newman 2003) are being introduced.
This conceit of an inert manikin coming to life to help a child is adopted in the large,
and growing, number of children’s stories which incorporate scarecrows. The most
famous is surely Frank Baum’s scarecrow from the Land of Oz stories, personalized
forever one suspects by Ray Bolger’s boneless dancing and warm voice. Modern
sequels and reinterpretations demonstrate the potential of these characters. Eric
Shanower’s series of graphic novels written in the 1980s recount further adventures.
The scarecrow, actually a mixture of two Baum characters, in The Forgotton Forest ofOz, rescues Dorothy. Another scarecrow character, Odemedod, a name derived froma Berkshire dialect word, hodmedod, is a recurring character in the Rupert the Beartales (Redfern 1993). Barbara Euphen Todd’s Daily Express cartoon became a seriesof books and a television series. It contained a fully developed scarecrow culture
which included Worzel Gummidge, his wife Earthy Mangold, and two lady friends,
the fairground doll and the ship’s figurehead (Todd 1936). This highlights thequestion of scarecrow gender. Traditional scarecrows were seemingly made toresemble males, although one of the less common terms, mommet, also meant a
maidservant. Word meanings are not a reliable reflection of origins, but anotherephemeral figure, the corn dolly, was also nominally female. However, this genderbias has gone completely in modern craft scarecrows which depict both male andfemale as well as adult and child scarecrows.
Many scarecrow stories have been illustrated, but depictions of scarecrows in art,prior to the modern explosion of interest in the figure, are surprisingly difficult tofind. Van Gogh’s numerous atmospheric pictures of fields, many of them near San
Remy where he spent the last years of his life, show fields of corn and grain withcrows. Some of them depict solitary figures sowing or harvesting, but none seem toinclude the épouvantail. An arts and craft style lithograph from the collection at the
Wellcome Library of the History of Medicine, depicts a group of Ukranian women infolk costume teasing a pock-marked and partially blinded boy. This health poster waspart of a pro-vaccination campaign, and the little boy says, tearfully, that like ascarecrow everyone will laugh at him, but the scarecrow figure is not there. Music too
has its scarecrows. There are a number of choral pieces for young people that use thescarecrow as a theme. Benny Goodman wrote the “Scarecrow foxtrot” in 1941 andPink Floyd wrote a rock song in the late 1960s.

A much darker image of the scarecrow appears in Walter de la Mare’s 1945 story inwhich a scarecrow is brought to life by a mandrake accidentally incorporated into its
stuffing The most elaborate use of scarecrow imagery occurs in the context of whatmight loosely be considered the ‘gothic’ and ‘horror’ genres which exploit the
ambiguities of ‘scarecrows’ characters ranging from heroic to nightmarish. “Thescarecrow” is used as a title in tales of the occult and mystery novels of varying
originality. Hugh Walpole, whose tales are psychological rather than supernatural,
uses the motif of a lonely child whose ‘vision’ of a shining scarecrow follows him
throughout life. (Walpole 1934). The theory relating the scarecrow to a survival of anancient sacrificial ritual underpins many horror novels and films. As a literary motif
this can be very effective, more so than as a serious theory of cultural origin. In Tom
Tryon’s Harvest Home, a husband and wife move to the country to escape from theimpersonal city and find themselves in the midst of a community which sacrifices oneof its members annually to maintain the vegetation cycle. One character tries toescape, but ends up pinned to a scarecrow frame. A similar situation forms the basis
for Stephen King’s ‘Children of the Corn’, a short story which became the basis for awhole series of horror films. A young couple stumble into an isolated town where thechildren sacrifice victims as crucified scarecrows to ‘that which runs between therows’. The Japanese horror film, Kakashi, (Japanese for scarecrow), which owes
much to manga comic tradition and an increasingly successful Japanese horror film
industry, also follows the misfortunes of an outsider who stumbles into an isolated
and bizarre community. The inhabitants replace the more traditional custom ofburning hair to keep wild animals and evil spirits away with kakashi in human form.
These human kakashi attract rather than repel spirits, especially during the annual
festival where the effigies are burned. The television series, Supernatural, also usedthe ‘scarecrow and sacrifice motif’ is one of its episodes. In one episode the twobrothers are sent to a village where people are sacrificed to a demonic presence thatmanifests itself as a murderous scarecrow. All of this has little to do with folklore
associated with scarecrows and a great deal to with the, essentially romantic andliterary, traditions of the gothic imagination. These are however, powerful traditionsin their own right.
The nineteenth and early twentieth centuries witnessed the heyday of a certain kind of
smuggler/pirate/adventurer novel. These novels give the impression that the southerncoast of England and Cornwall from Romney March to Jamaica Inn was populated byhandsome bad boy rebels devoted to rescuing people from the Spanish Inquisition, theTerror and the Excisemen while performing nifty fencing moves and fluttering thehearts of the local ladies. These heroes harbour some dark secret in their past which
forces them into a daytime life of apparent respectability and a nighttime existence ofdisguise on the margins of society. Of course, and this is true for both male andfemale authors, the disguised outsider is looking not just for justice, but forredemption as well and happy the lucky woman whom he chooses. Beginning with Dr
Syn a Tale of Romney Marsh in 1915, Russell Thorndike wrote a series of books inthe best tradition of these novels about Dr Christopher Syn, the scholarly vicar of
Dymchurch by the Wall on Romney March whose alter egos were Clegg the pirate
and the Scarecrow, smuggler extraordinaire. Seven books, three films, later sequels,
several thriving fanzine sites, a bi-annual celebration in the real Kent village of
Dymchurch and an operatic setting (Cruft and Platt 1983) are testament enough toThorndike’s ability to create just the right mix of history, adventure and romance,
held together with appropriately gothic trappings. The figure, who serendipitously‘borrows’ a scarecrow’s clothes as a disguise on his first outing is rapidly surroundedby an evocative, if not very subtle, paraphernalia of supernatural reference: Gahenna
his horse, Curlew, Hellspite and the ‘Night Rider’ smugglers themselves. Three actors
have played the title role. George Arliss in the late 1930s was the most sinister in afilm with little of the background atmosphere apart from a very short scene involving
a scarecrow and a brief shot of men in cloaks riding horses. Peter Cushing conformed
most closely to the physical description of Thorndike’s vicar, but changing the nameto Dr Blyss did not help the atmosphere, and only after the film got the full Disneytreatment complete with ‘folk’ ballad theme, plenty of atmosphere and unchecked
brooding on the part of Patrick McGoohan was the romantic gothic potential of thestories fully realized.
Nothing quite like Dr Syn has come along since, although the Australian thriller
writer, Matthew Reilly, has created in the character of Captain Shane Shofield, (callsign The Scarecrow) a preternaturally self-reliant outsider being mysteriously hunted
by unknown forces. Quite different qualities of the scarecrow come through in Buster
Keaton’s short silent film written by and starring him. Keaton’s acting had some ofthe qualities of commedia del arte, and his film is reminiscent of the type ofscarecrow in Walter de la Mare’s earlier poem. However more recent realizations of
the gothic scarecrow stress its darker side and the nightmarish quality of somethinginanimate suddenly coming to life. Early Batman comics feature the Scarecrow as avillain, and he has re-appeared intermittently over the years, most recently in Batman
Begins. This film marks a return to the dark gothicism of the first Batman film. The
psychotic academic turned criminal mastermind in charge of an asylum provides
plenty of opportunity for the main character to wrestle with his own demons while
rescuing innocents in peril.
Why indeed should the scarecrow stay quietly in his fields when we are so ready towelcome him into our gardens, watch him flicker across our screens and join in ourcelebrations?

Selected Sources:
Isaac Asimov, I Robot London 1952
Andre Bechtold, Maschere, saltari e spaventaspasseri spauracchi mostra speciale a
Castel Roncolo, Exhibition catalogue. Bolzano, 2001
Ken Brown, The Scarecrow’s Hat London, 2000. Het y bwgan brain Welsh
adaptation by Menna Davies. Cymdeithas Llyfrau Ceredigion, 2000
Andy Coghlan, ‘Meltdown: What does the snowman represent in a post-modern
world of cyborgs simulacra and super semiotics and is there a PhD in it?’ 46-47. New
Scientist 19/26 December 1999
’Flaming Great Giant’ Country Life 1995
David Cressy, Bonfires and Bells: National Memory and the Protestant Calendar in
Elizabethan and Stuart England. London 1989
Walter de la Mare, The complete poems of Walter de la Mare. London, 1969
Bill Finger et al, Batman: scarecrow tales London Titan books 2005
J.A. Ferguson, The Scarecrow a Halloween fantasy in one act. London & Glasgow
1922 Am bodach-rocais (Gaelic trans. Lachlann MacFhionghuin Glasgow, Comunn
Gaidhealach 1951
Stephen King, Children of the Corn from Night Shift. London 1978; film 1984

Peter Haining, The Scarecrow Fact and Fable London, 1988
Anthony Harvey and Richard Mortimer, editors The Funeral Effigies of Westminster
Abbey Boydell and Brewer
Roy Judge, ‘The Green Man’ in Colour and Appearance in Folklore edited by Juliette
Wood and John Hutchings. The Folklore Society 1991.
Marcianne Miller, Creative scarecrows 35 fun figures for your garden. New York
2005
Avon Neal and Ann Parker, Ephemeral Folk Figures Scarecrows Harvest figures andSnowmen New York, 1969
Gerry Newman, Nellie the scarecrow, a Dorset fable Leicester 2003
Elizabeth and David Precious, Outstanding in Their fields: Scarecrows of Nova Scotia
Halifax N.S., 1997
Norman Redfern, Rupert and the vanishing scarecrow London 1993
R. A. Segal, The Myth and Ritual Theory: an anthology Oxford, 1998
Philip Pullman, The Scarecrow and his Servant. London, 2004
Barbara Euphan Todd, Worzel Gummidge the Scarecrow of Scatterbrook Penguin,
1936
Russell Thorndike, Dr Syn, a Tale of Romney Marsh London 1915
Tom Tryon, Harvest Home New York, 1973
Hugh Walpole, The Golden Scarecrow London 1934Music
‘Dr Syn; a tale of Romney March in the 1770s’. Music and words Aiden Cruft andJohanna Platt London, Joad Press, 1983
‘Scarecrow foxtrot’ Benny Goodman 1941
‘The Scarecrow’ Pink Floyd, Piper at the Gates of Dawn 1967