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As with so many other preexistent pagan festivals, Christian societies seem to have adopted some of these practices and gradually given them specifically religious shapes and meanings. Thus, by about the 12th century, the backdrop halloween of general "spookiness" created by the "Samhain" festival had become imbued with the veneration of the dead and with asserting the enduring costumes claims of the departed upon those still living. It expressed this through masses, processions and the lusty tolling yu-gi-oh of bells to ward off demonic spirits. Manifestations of this general theme varied considerably from place to place: the opening and decoration of tombs in Naples, the reconsecration of graves halloween in Brittany, the purchasing of extra candles and torches to stave off the encircling darkness in Bristol, and so on.

As with so many other preexistent pagan festivals, Christian societies seem to have adopted some of these practices and gradually given them specifically religious shapes and meanings. Thus, by about the 12th century, the backdrop halloween of general "spookiness" created by the "Samhain" festival had become imbued with the veneration of the dead and with asserting the enduring costumes claims of the departed upon those still living. It expressed this through masses, processions and the lusty tolling yu-gi-oh of bells to ward off demonic spirits. Manifestations of this general theme varied considerably from place to place: the opening and decoration of tombs in Naples, the reconsecration of graves halloween in Brittany, the purchasing of extra candles and torches to stave off the encircling darkness in Bristol, and so on.

Rogers sees the 1970s as a renaissance period for Halloween, chiefly as an outlet for the expression of "cultural inversion." In the final two chapters, he takes stock of Halloween at the end of the millennium, noting how some elements both of European and Latin American (El Dia de los Muertos) antecedents have been assimilated and reshaped by U.S. popular culture.An impulse to "kick over the traces," at least occasionally, has marked every society and has manifested itself in everything from forbidden rites to seasonal experimentation with folk religion to transvestite parades. One of Rogers''s central points is that the fear and spookiness surrounding Halloween have always tended to engender both reverence and revelry, and that the two responses are not easily separated. Writing of the late medieval English costumes Hallowtide, he observes that "in this season of misrule, yu-gi-oh choristers became boy bishops and urban leaders were temporarily usurped from power by mock-mayors and sheriffs in a ritualized topsy-turvy world replete with "subtle disguises, masks, and mummeries.''"

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