Crammed into old houses and hotels, abandoned prisons and empty hospitals, the spirits that linger continue to capture our collective imagination, but why? His own fascination piqued by a house hunt in Los Angeles that revealed derelict foreclosures and "zombie homes," Dickey embarks on a journey across the continental United States to decode and unpack the American history repressed in our most famous haunted places. Some have established reputations as "the most haunted mansion in America," or "the most haunted prison"; others, like the haunted Indian burial grounds in West Virginia, evoke memories from the past our collective nation tries to forget.            With boundless curiosity, Dickey conjures the dead by focusing on questions of the living—how do we, the living, deal with stories about ghosts, and how do we inhabit and move through spaces that have been deemed, for whatever reason, haunted? Paying attention not only to the true facts behind a ghost story, but also to the ways in which changes to those facts are made—and why those changes are made—Dickey paints a version of American history left out of the textbooks, one of things left undone, crimes left unsolved. Spellbinding, scary, and wickedly insightful, Ghostland discovers the past we're most afraid to speak of aloud in the bright light of day is the same past that tends to linger in the ghost stories we whisper in the dark.From the Hardcover edition.

    These are stories that passed down through the ages virtually unaltered in their telling. To those who told and listened to them, they expressed something fundamental about Irish culture and the Irish way of life. The stories in this volume feature a wide variety of fantastic beings, including ghosts, witches, fairies, and changelings, but several feature creatures that are virtually exclusive to Ireland: the banshee, the merrow, the pooka, and the leprechaun. Read these tales of frightening supernatural horrors, brave folk heroes, and everyday people clever enough to outwith the devil, and you'll agree that they could only take place on Irish soil.

    Now greatly expanded, the classic anthology of contemporary texts reexamines the phenomenon of witchcraft, taking into account the remarkable scholarship since the book's publication almost thirty years ago.Spanning the period from 400 to 1700, the second edition of Witchcraft in Europe assembles nearly twice as many primary documents as the first, many newly translated, along with new illustrations that trace the development of witch-beliefs from late Mediterranean antiquity through the Enlightenment. Trial records, inquisitors' reports, eyewitness statements, and witches' confessions, along with striking contemporary illustrations depicting the career of the Devil and his works, testify to the hundreds of years of terror that enslaved an entire continent.Thomas Aquinas, Martin Luther, Thomas Hobbes, and other thinkers are quoted at length in order to determine the intellectual, perceptual, and legal processes by which folklore was transformed into systematic demonology and persecution. Together with explanatory notes, introductory essays--which have been revised to reflect current research--and a new bibliography, the documents gathered in Witchcraft in Europe vividly illumine the dark side of the European mind.

    Mystical beliefs and practices have existed for millennia, but why do we still chase the esoteric? From the beginning of human creativity itself, image-makers have been drawn to these unknown spheres and have created curious artworks that transcend time and place – but what is it that attracts artists to these magical realms? From theosophy and kabbalah, to the zodiac and alchemy; spiritualism and ceremonial magic, to the elements and sacred geometry – The Art of the Occult introduces major occult themes and showcases the artists who have been influenced and led by them. Discover the symbolic and mythical images of the Pre-Raphaelites; the automatic drawing of Hilma af Klint and Madge Gill; Leonora Carrington's surrealist interpretation of myth, alchemy and kabbalah; and much more. Featuring prominent, marginalised and little-known artists, The Art of the Occult crosses mystical spheres in a bid to inspire and delight. Divided into thematic chapters (The Cosmos, Higher Beings, Practitioners), the book acts as an entertaining introduction to the art of mysticism – with essays examining each practice and over 175 artworks to discover. The art of the occult has always existed in the margins but inspired the masses, and this book will spark curiosity in all fans of magic, mysticism and the mysterious.

    Demonstrates that the usual theoretical distinction between black magic and white, evil magic and good, is not so simply drawn. Text: English (translation)Original Language: French, Hebrew, Italian, Latin

    That was before they burst upon my life as vibrant, luminous beings, permeating my art and my everyday existence, causing glorious havoc..." In the long-awaited sequel to the international bestseller "Faeries", artist Brian Froud rescues pixies, gnomes, and other faeries from the isolation of the nursery and the distance of history, bringing them into the present day with vitality and imagination. In this richly imagined new book, Brian reveals the secrets he has learned from the faeries-- what their noses and shoes look like, what mischief and what gentle assistance they can give, what their souls and their dreams are like.As it turns out, faeries aren't all sweetness and light. In addition to such good faeries as Dream Weavers and Faery Godmothers, Brian introduces us to a host of less well behaved creatures-- traditional bad faeries like Morgana le Fay, but also the Soul Shrinker and the Gloominous Doom. The faery kingdom, we find, is as subject to good and evil as the human realm. Brilliantly documenting both the dark and the light, "Good Faeries/Bad Faeries" presents a world of enchantment and magic that deeply compels the imagination.

    Mining the Hermetic, alchemical, and Neoplatonic influences behind the evolution of the deck, author Robert M. Place provides a historically grounded and compelling portrait of the Tarot's true origins, without overlooking the deck's mystical dimensions.Indeed, Place uncommonly weds reliable historiography with a practical understanding of the intuitive help and divinatory guidance that the cards can bring. He presents techniques that offer new and valuable ways to read and interpret the cards. Based on a simple three-card spread, Place's approach can be used by either the seasoned practitioner or the new inquirer.

    He examines its relation to religion, science, philosophy, art, literature and politics before introducing us to the different types of magic, the kinds of people who practiced magic, and the reasoning behind their beliefs. This book places magic at the crossroads of medieval culture, shedding light on many other aspects of life in the Middle Ages.

    Until recently historians often dismissed these descriptions as elaborate fictions created by judicial interrogators eager to find evidence of stereotypical pacts with the Devil. Although this paradigm is now routinely questioned, and most historians acknowledge that there was a folkloric component to familiar lore in the period, these beliefs and the experiences reportedly associated with them, remain substantially unexamined. Cunning-Folk and Familiar Spirits examines the folkloric roots of familiar lore from historical, anthropological and comparative religious perspectives. It argues that beliefs about witches' familiars were rooted in beliefs surrounding the use of fairy familiars by beneficent magical practitioners or 'cunning folk', and corroborates this through a comparative analysis of familiar beliefs found in traditional native American and Siberian shamanism. The author explores the experiential dimension of familiar lore by drawing parallels between early modern familiar encounters and visionary mysticism as it appears in both tribal shamanism and medieval European contemplative traditions. These perspectives challenge the reductionist view of popular magic in early modern British often presented by historians.

    In the tradition of unsolved historical mysteries like David Grann's Killers of the Flower Moon and Douglas Preston's The Lost City of the Monkey God, Brian Muraresku’s 10-year investigation takes the reader through Greece, Germany, Spain, France and Italy, offering unprecedented access to the hidden archives of the Louvre and the Vatican along the way.In The Immortality Key, Muraresku explores a little-known connection between the best-kept secret in Ancient Greece and Christianity. This is the real story of the most famous human being who ever lived (Jesus) and the biggest religion the world has ever known. Today, 2.4 billion people are Christian. That's one third of the planet. But do any of them really know how it all started?Before Jerusalem, before Rome, before Mecca—there was Eleusis: the spiritual capital of the ancient world. It promised immortality to Plato and the rest of Athens's greatest minds with a very simple formula: drink this potion, see God. Shrouded in secrecy for millennia, the Ancient Greek sacrament was buried when the newly Christianized Roman Empire obliterated Eleusis in the fourth century AD.Renegade scholars in the 1970s claimed the Greek potion was psychedelic, just like the original Christian Eucharist that replaced it. In recent years, vindication for the disgraced theory has been quietly mounting in the laboratory. The rapidly growing field of archaeological chemistry has proven the ancient use of visionary drugs. And with a single dose of psilocybin, the psycho-pharmacologists at Johns Hopkins and NYU are now turning self-proclaimed atheists into instant believers. No one has ever found hard, scientific evidence of drugs connected to Eleusis, let alone early Christianity. Until now.Armed with key documents never before translated into English, convincing analysis, and a captivating spirit of quest, Muraresku mines science, classical literature, biblical scholarship and art to deliver the hidden key to eternal life, bringing us to what clinical psychologist William Richards calls "the edge of an awesomely vast frontier."Featuring a Foreword by Graham Hancock, the New York Times bestselling author of America Before: The Key to Earth's Lost Civilization.

    Somewhere along the line, she realised, she had lost herself - and so began her long journey back to authenticity, rootedness in place and belonging. In this extraordinary book of myth, memoir and modern-day mentors (from fashion designers to lawyers), Blackie faces the wasteland of Western culture, the repression of women, and the devastation of our planet. She boldly names the challenge: to reimagine women's place in the world, and to rise up, firmly rooted in our own native landscapes and the powerful Celtic stories and wisdom which sprang from them.A haunting heroine's journey for every woman who finds inspiration and solace in the natural world.

    Few topics are so secretive or controversial. Yet, whether in the 1800s or the early 2000s, when disasters struck or personal misfortunes mounted, many Britons found themselves believing in things they had previously dismissed – dark supernatural forces.Historian Thomas Waters here explores the lives of cursed or bewitched people, along with the witches and witch-busters who helped and harmed them. Waters takes us on a fascinating journey from Scottish islands to the folklore-rich West Country, from the immense territories of the British Empire to metropolitan London. We learn why magic caters to deep-seated human needs but see how it can also be abused, and discover how witchcraft survives by evolving and changing. Along the way, we examine an array of remarkable beliefs and rituals, from traditional folk magic to diverse spiritualities originating in Africa and Asia.This is a tale of cynical quacks and sincere magical healers, depressed people and furious vigilantes, innocent victims and rogues who claimed to possess evil abilities. Their spellbinding stories raise important questions about the state’s role in regulating radical spiritualities, the fragility of secularism and the true nature of magic.

    Part One considers the distinguishing features of the various Cycle of tales and the personages who figure most prominently in them. Part Two reveals the cosmological framework within which the action of the tales takes place. Part Three consists of a discussion of the themes of certain classes of stories which tell of Conceptions and Births, Supernatural Adventures, Courtships and Marriages, Violent Deaths and Voyages to the Other World, and an attempt is made to understand their religious function and glimpse their transcendent meaning.

    These men and women regarded themselves as professional anti-witches, who (in dream-like states) apparently fought ritual battles against witches and wizards, to protect their villages and harvests. If they won, the harvest would be good, if they lost, there would be famine. The inquisitors tried to fit them into their pre-existing images of the witchesâ�� sabbat. The result of this cultural clash which lasted over a century, was the slow metamorphosis of the benandanti into their enemies â�� the witches. Carlo Ginzburg shows clearly how this transformation of the popular notion of witchcraft was manipulated by the Inquisitors, and disseminated all over Europe and even to the New World. The peasantsâ�� fragmented and confused testimony reaches us with great immediacy, enabling us to identify a level of popular belief which constitutes a valuable witness for the reconstruction of the peasant way of thinking of this age.

    Part I covers the many concepts of the God examined, including: His faces throughout history; The Son/Lover God; The Vegetation God; The War God; The Anti-God; and more Part II gives a close look at 12 individual gods of history with an appropriate invoking ritual for each. Part III presents a comprehensive dictionary of over 1000 gods from many world cultures, past and present. The Farrars are among the best-known authors on the Craft, and in The Witches' God have written what is likely to become the standard work on the masculine god aspect. Over 30,000 sold!