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The Lost Folk: From the Forgotten Past to the Emerging Future of Folk
A fresh and engaging celebration of the customs, places, objects and peoples that make up what we know as ‘folk’ in Britain.
By its nature, folk is ephemeral: tricky to define, hard to preserve and even more difficult to resurrect. But folk culture is all around us; sitting in our churches, swinging from our pubs and dancing through our streets, patiently waiting to be discovered, appreciated, saved and cherished.
In The Lost Folk, Lally MacBeth is on a mission to breathe new life into these rapidly disappearing customs. She reminds us that folk is for everyone, and does not belong to an imagined, halcyon past, but is constantly being drawn from everyday lives and communities. As well as looking at what folk customs have meant in Britain’s past, she shines a light on what they can and should mean as we move into the future – encouraging us to use the book as an inspiration, and become collectors and creators of our very own folk traditions.
By its nature, folk is ephemeral: tricky to define, hard to preserve and even more difficult to resurrect. But folk culture is all around us; sitting in our churches, swinging from our pubs and dancing through our streets, patiently waiting to be discovered, appreciated, saved and cherished.
In The Lost Folk, Lally MacBeth is on a mission to breathe new life into these rapidly disappearing customs. She reminds us that folk is for everyone, and does not belong to an imagined, halcyon past, but is constantly being drawn from everyday lives and communities. As well as looking at what folk customs have meant in Britain’s past, she shines a light on what they can and should mean as we move into the future – encouraging us to use the book as an inspiration, and become collectors and creators of our very own folk traditions.
320 pages, Hardcover
Published August 26, 2025
46 people are currently reading
756 people want to read
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Displaying 1 - 16 of 16 reviews
September 2, 2025
Well written and a good inclusive message but overall quite disorganised and dry. I wasn’t sure what this was about — the lost collectors or lost folk art and customs? The latter is far more interesting but the book had quite a strong emphasis on the former. It felt quite academic and without much to keep me reading at times.
January 20, 2026
Passion seeps through every page. Macbeth has clearly done her research, this book provided a wealth of examples from across the country….but I do feel like it ended up feeling more like a reference text as opposed to one with an argumentative throughline to it. It feels like she threw everything but the kitchen sink at the reader. I think she set herself an impossible task: survey as many folk customs and practices across Britain as possible and present as many of them to the reader as you can. It doesn’t quite work as a nonfiction story and it doesn’t quite work as a collection, as it cannot document everything in an easily searchable way. I found I was losing interest and getting quite tired of reading it after a while, but I know I will refer back to it whenever I am curious about different customs or places. Viewing this as an extension of her Folk Archive is perfect the best way of reading it. I did enjoy the chapter about forgotten folk collectors and her meditations on problematic folk practices of the past. But, the idea of ‘lostness’ to me did not feel properly interrogated and the text did not do much to justify the ‘foundness’ of her examples beyond listing them and hoping we agree (which I did, as a fellow folky, but not everyone might) Perhaps Macbeth’s folk collector’s tendencies were a little too strong in this, and maybe that’s not a bad thing at all, but for me it didn’t quite work.
October 22, 2025
⭐️⭐️⭐️½
January 3, 2026
I understand why some people were disappointed to find that this wasn’t the standard collection of folk tales or traditions that most folk non-fiction is these days, and I was a little surprised too, but ultimately I think this book does what it intends to do brilliantly. It dissects the nature of folk itself, gets to the core of what it is and what it can be, and I’ve found myself blown away by how much I learned and how differently I look at folk culture now. Cataloguing so many different examples of folk, including things easy taken for granted I had never considered as folk before, was a true labour of love.
An easy 5 stars and I’m so excited to shove this book into the hands of everyone I know who may enjoy it.
An easy 5 stars and I’m so excited to shove this book into the hands of everyone I know who may enjoy it.
August 1, 2025
I found this exploration of Folk fascinating. It took me a long time to read as i found myself wanting to know more about things mentioned so would go on Youtube or Wikipedia deep dives. I'm seeing many things I encounter on a daily basis in a different way now.
October 4, 2025
This is a fascinating and well researched book, that has the power to make you look with different eyes at the world around you. The celebration of the local, the handmade, the eccentric, of things that are ephemeral, cheap, or even free, is essential in an age of globalisation and the dominance of tech giants (what does folklore teach us about the over-mighty?)
Lally Macbeth writes persuasively against the concept of authenticity, showing how meaningless it is, when we can't really tell if a practice dates from antiquity or was invented by the victorians. It doesn’t matter, as long as it's meaningful today.
Lally Macbeth writes persuasively against the concept of authenticity, showing how meaningless it is, when we can't really tell if a practice dates from antiquity or was invented by the victorians. It doesn’t matter, as long as it's meaningful today.
June 3, 2025
I was enchanted from the very first pages of The Lost Folk. This is a wonderful exploration through custom, tradition, and the imagination of remarkable everyday people. Myth plays a huge role, both in the creation and curation of what makes up folk, but that doesn’t make it fiction; not one bit. It is the entire lives of some, entirely dedicated to craft and creation.
Part of the huge importance of folk, I learned, is that it is a show of ancient and modern Britain holding hands; and even more relevant, how it embraces all cultures, newcomers and deeply rooted alike. Folk does of course have its darker sides, its political, and its immutable, which is a hugely important part of its debate.
It’s an impossible book not to be invested in, guided by Lally’s incredible insights, and realise that the thing you’ve loved for all those years, since your youth . . . is folk! You’ve seen folk, and touched it. Herein is the wisdom of how to preserve and embrace it.
This book is a remarkable feat of passion, research, and wide-reaching fascination. It is worth it for the conclusion alone.
Part of the huge importance of folk, I learned, is that it is a show of ancient and modern Britain holding hands; and even more relevant, how it embraces all cultures, newcomers and deeply rooted alike. Folk does of course have its darker sides, its political, and its immutable, which is a hugely important part of its debate.
It’s an impossible book not to be invested in, guided by Lally’s incredible insights, and realise that the thing you’ve loved for all those years, since your youth . . . is folk! You’ve seen folk, and touched it. Herein is the wisdom of how to preserve and embrace it.
This book is a remarkable feat of passion, research, and wide-reaching fascination. It is worth it for the conclusion alone.
June 19, 2025
When I saw the artwork for this one I knew I needed it on my shelf ... luckily I have an interest in folk customs too, so when the publishers very kindly sent me a copy I was very excited to get stuck into it!
This is a beautifully crafted journey through Britain’s forgotten folklore... the strange seasonal figures, regional customs, and half-remembered rituals that sit just on the edge of mainstream memory. It’s a blend of travel writing, cultural history, and personal reflection and it manages to be both deeply grounded and slightly otherworldly.
I loved how she tackled idea of cultural memory and how certain stories and symbols survive while others slip into obscurity. MacBeth doesn’t just mourn these lost characters, she resurrects them on the page. We learn how pub signs, flowerbeds and local festivals are still considered part of the rich tapestry that makes up 'folk' in Britain today. She makes it clear that these aren’t just oddities, they’re remnants of a more communal (and arguably more connected) life and a seasonal understanding that we are missing in the modern world.
There’s also a powerful exploration of place and belonging. MacBeth travels from the Scottish Highlands to the rocky coasts of Cornwall, linking each folkloric figure with the land they come from along the way. For example, we learn of The Obby Oss in Padstow, a strange, chaotic spring ritual involving a horse-like creature and costumed dancers. MacBeth doesn’t just describe the scene, she reflects on how the ritual shapes a sense of local identity, even as the meaning of the ritual itself shifts over time.
What I really enjoyed was the tone of MacBeth's writing, it’s reverent and respectful without being dry, poetic but never precious. She clearly loves the subject and that comes through in every page. Her writing is full of small, sensory details, peat smoke, sea mist, ringing bells, all the textures of rural Britain, woven in with a sense of quiet enchantment.
That being said, I did sometimes want more. The author states early on that there is not enough time to go deeply into some of the folklore (of Scotland, Ireland and Wales particularly) but I still found some of the sections felt quite fleeting, just as I was getting properly drawn in, we’d move on. I found myself longing for a bit more historical context, or deeper commentary, especially around how these traditions were shaped by (and resisted) power structures like the church. That’s a little niggle really, the book is clearly intentionally wide-ranging and it does its job well... but I was enjoying it so much I could have taken more.
Still, The Lost Folk is a gorgeous, thoughtful book inside and out. It’s perfect if you’re folklore-curious, or if you’re drawn to the kind of storytelling that reveals the magic in the everyday.
This is a beautifully crafted journey through Britain’s forgotten folklore... the strange seasonal figures, regional customs, and half-remembered rituals that sit just on the edge of mainstream memory. It’s a blend of travel writing, cultural history, and personal reflection and it manages to be both deeply grounded and slightly otherworldly.
I loved how she tackled idea of cultural memory and how certain stories and symbols survive while others slip into obscurity. MacBeth doesn’t just mourn these lost characters, she resurrects them on the page. We learn how pub signs, flowerbeds and local festivals are still considered part of the rich tapestry that makes up 'folk' in Britain today. She makes it clear that these aren’t just oddities, they’re remnants of a more communal (and arguably more connected) life and a seasonal understanding that we are missing in the modern world.
There’s also a powerful exploration of place and belonging. MacBeth travels from the Scottish Highlands to the rocky coasts of Cornwall, linking each folkloric figure with the land they come from along the way. For example, we learn of The Obby Oss in Padstow, a strange, chaotic spring ritual involving a horse-like creature and costumed dancers. MacBeth doesn’t just describe the scene, she reflects on how the ritual shapes a sense of local identity, even as the meaning of the ritual itself shifts over time.
What I really enjoyed was the tone of MacBeth's writing, it’s reverent and respectful without being dry, poetic but never precious. She clearly loves the subject and that comes through in every page. Her writing is full of small, sensory details, peat smoke, sea mist, ringing bells, all the textures of rural Britain, woven in with a sense of quiet enchantment.
That being said, I did sometimes want more. The author states early on that there is not enough time to go deeply into some of the folklore (of Scotland, Ireland and Wales particularly) but I still found some of the sections felt quite fleeting, just as I was getting properly drawn in, we’d move on. I found myself longing for a bit more historical context, or deeper commentary, especially around how these traditions were shaped by (and resisted) power structures like the church. That’s a little niggle really, the book is clearly intentionally wide-ranging and it does its job well... but I was enjoying it so much I could have taken more.
Still, The Lost Folk is a gorgeous, thoughtful book inside and out. It’s perfect if you’re folklore-curious, or if you’re drawn to the kind of storytelling that reveals the magic in the everyday.
July 14, 2025
1. Summary (No Spoilers – because there are no folk tales to spoil)
According to six rave reviews on the back cover — including one calling it “lively and deeply researched” — this book promised a fresh, erudite take on British folk customs, past and present. I settled in expecting maypoles, Morris dancers, and perhaps a recipe for wassail.
Instead, what I got was... a 327-page introduction to the people who once collected folk traditions. Not the traditions themselves — heavens no. That would have been far too folksy. This is a book about the people who talked about the people who once collected folk tales. A sort of folklore inception.
2. What I Liked
The cover. Gorgeous. The font choices — solid.
Lally Macbeth does write well. You can almost hear the BA (Hons) and her postgraduate funding whispering from the margins. If this book had been marketed as “an academic meditation on archival folk studies and the legacy of post-war collectors,” I would’ve known what I was getting.
But it wasn’t. It was marketed as Folk. And that’s where the folk-ing disappointment began.
3. What I Didn’t Like
I came for cheese rolling, pancake tossing, and perhaps an anecdote about someone setting fire to a wicker goat.
I stayed out of stubbornness, hoping page 198 might finally describe a single folk custom. It didn’t.
The book reads like one long preface — a beautifully bound prologue that never gets to the party.
There’s no mention of the vibrant, odd, muddy traditions I remember from school assemblies or village fetes.
And that signed copy sticker? A sticky label with the author’s name Sharpie’d on like a raffle ticket. What next — a limited edition with “Best Wishes” printed in Comic Sans?
4. Final Thoughts
This isn’t a book about folk traditions. It’s a book about the people who used to talk about them. If that’s your thing, great. But if, like me, you were hoping for a literary tour of British folklore with bells on — you’ll have better luck googling "Morris dancing YouTube compilation".
Will I trust this publisher with another £20 of mine? No. Not even if their next title is Folklore: Now With Actual Folk. Fool me once…
According to six rave reviews on the back cover — including one calling it “lively and deeply researched” — this book promised a fresh, erudite take on British folk customs, past and present. I settled in expecting maypoles, Morris dancers, and perhaps a recipe for wassail.
Instead, what I got was... a 327-page introduction to the people who once collected folk traditions. Not the traditions themselves — heavens no. That would have been far too folksy. This is a book about the people who talked about the people who once collected folk tales. A sort of folklore inception.
2. What I Liked
The cover. Gorgeous. The font choices — solid.
Lally Macbeth does write well. You can almost hear the BA (Hons) and her postgraduate funding whispering from the margins. If this book had been marketed as “an academic meditation on archival folk studies and the legacy of post-war collectors,” I would’ve known what I was getting.
But it wasn’t. It was marketed as Folk. And that’s where the folk-ing disappointment began.
3. What I Didn’t Like
I came for cheese rolling, pancake tossing, and perhaps an anecdote about someone setting fire to a wicker goat.
I stayed out of stubbornness, hoping page 198 might finally describe a single folk custom. It didn’t.
The book reads like one long preface — a beautifully bound prologue that never gets to the party.
There’s no mention of the vibrant, odd, muddy traditions I remember from school assemblies or village fetes.
And that signed copy sticker? A sticky label with the author’s name Sharpie’d on like a raffle ticket. What next — a limited edition with “Best Wishes” printed in Comic Sans?
4. Final Thoughts
This isn’t a book about folk traditions. It’s a book about the people who used to talk about them. If that’s your thing, great. But if, like me, you were hoping for a literary tour of British folklore with bells on — you’ll have better luck googling "Morris dancing YouTube compilation".
Will I trust this publisher with another £20 of mine? No. Not even if their next title is Folklore: Now With Actual Folk. Fool me once…
February 13, 2026
Macbeth is a prime example of the folklit genre of recent times, diving into a bell gangling zeitgeist, appearing knowledgeable & connected. I had the sad misfortune to feel this authors cold & unwelcoming presence some years back, despite common people & a familiar shared history Macbeth would do well to express a little more respect for. Despite this I ploughed on hoping this work would have softened
& expressed more in-depth reverence for a subject close to my heart.
One paragraph nostalgically denoting to “look up” when visiting new places is a direct parody from a semi-recent rom com. No index. Zero referencing & sulkily hitting out towards anyone who wants them. The problem I have with a book like this is the work has already been done, by many before & yet they’re dismissed because they’re not presented in a way which suits. It certainly isn’t lost.
Romantic commodification of traditional customs becomes an oxymoron of precisely this kind of work & all of the pouty social media promotion which follows it. Writing a book is a great achievement, it can also be done without undermining those who have gone before. I can’t help but feel Macbeth desperately wants to be in the mainstream whilst standing out as unique & quirky. Maybe she can have her cake eat it.
A good intro however, I strongly recommend reading “Folklore” by Ceri Houlbrook and Owen Davies
& expressed more in-depth reverence for a subject close to my heart.
One paragraph nostalgically denoting to “look up” when visiting new places is a direct parody from a semi-recent rom com. No index. Zero referencing & sulkily hitting out towards anyone who wants them. The problem I have with a book like this is the work has already been done, by many before & yet they’re dismissed because they’re not presented in a way which suits. It certainly isn’t lost.
Romantic commodification of traditional customs becomes an oxymoron of precisely this kind of work & all of the pouty social media promotion which follows it. Writing a book is a great achievement, it can also be done without undermining those who have gone before. I can’t help but feel Macbeth desperately wants to be in the mainstream whilst standing out as unique & quirky. Maybe she can have her cake eat it.
A good intro however, I strongly recommend reading “Folklore” by Ceri Houlbrook and Owen Davies
August 4, 2025
Excellent book about folk - what is folk? How did it become lost, how has it merged with new or old traditions into something else?
This is a detailed book covering all sorts of things from mummers and Morris sides to model villages and corn dolls. It left me with more questions and wanting more information though - if ships heads and shipwreck museums are folk then are Gansey knits and scrimshaws (as these aren't mentioned)? I'm sure not everything can fit in one book - which is why I want a sequel!
This is a detailed book covering all sorts of things from mummers and Morris sides to model villages and corn dolls. It left me with more questions and wanting more information though - if ships heads and shipwreck museums are folk then are Gansey knits and scrimshaws (as these aren't mentioned)? I'm sure not everything can fit in one book - which is why I want a sequel!
November 5, 2025
A great look into folk collections and practices in the UK. There was a heavy focus on collectors, but it was a great reminder of the people and collections that time can easily forget. Lally MacBeth's desire for people to realise that folk can be a lot of items and customs as well as the fact that evolution can be a good thing shines through in all the chapters. Overall an enjoyable read from someone who has a love of learning about different folk practices and collections.
August 7, 2025
In the conclusion, Macbeth says, "...people will only grow tired of folk when they grow tired of being alive." It's hard to argue, having read this brilliant book.
August 8, 2025
I thought this was a lovely read, a lot of the places and folk customs the author spoke about, are things I have seen growing up on family trips so it felt really nostalgic and comforting!
December 12, 2025
Extremely fascinating, and worthy of five stars for assistance this gave when writing my dissertation. Such uniqueness in British folklore and love the idea of it rebirthing as fresh term.
December 26, 2025
A delightful dip into the unique and surreal of folk customs and traditions in Britain.
Displaying 1 - 16 of 16 reviews