Once, a family disappeared there. And now Constance Langton has inherited this dark place as well as the mysteries surrounding it. Having grown up in a house marked by the death of her sister, Constance is no stranger to mystery, secrets, and the dark magic around us. Her father was distant. Her mother was in perpetual mourning for her lost child. In a desperate attempt to coax her mother back to health, Constance took her to a seance hoping she would find supernatural comfort. But tragic consequences followed, leaving her alone in the world-- alone with Wraxford Hall. Saddled with this questionable bequest, she must find the truth at the heart of all these disappearances, apparitions, betrayal, blackmail, and villainy, even if it costs her life. John Harwood's second novel delivers on the great promise proven by his first with this gripping mystery set in the heart of Victorian England.

    350 copies.(Out of print).Contents: "Introduction by Glen Cavaliero, "The School Friend", "Ringing the Changes", "Choice of Weapons", "The Waiting Room", "The View" and "Bind Your Hair".As Dr Glen Cavaliero states in his introduction to this new edition of Dark Entries, "It is Robert Aickman's peculiar achievement that he should invest the daylight world with all the terrors of the night".Dark Entries was the first solo collection of "strange stories" by British short story writer, critic, lecturer and novelist, Robert Aickman. First published in 1964 it contains the classic "Ringing the Changes" and perhaps Aickman's best femme fatale in "Choice of Weapons." The version of "The View" is slightly re-written from its first appearance in We are for the Dark.

    Clouds of war are gathering over a fogbound London. Twenty-eight year old Jack is poor, lonely, and desperate to change his life, so when he's offered the chance to join an Arctic expedition, he jumps at it. Spirits are high as the ship leaves Norway: five men and eight huskies, crossing the Barents Sea by the light of the midnight sun. At last they reach the remote, uninhabited bay where they will camp for the next year, Gruhuken, but the Arctic summer is brief. As night returns to claim the land, Jack feels a creeping unease. One by one, his companions are forced to leave. He faces a stark choice: stay or go. Soon he will see the last of the sun, as the polar night engulfs the camp in months of darkness. Soon he will reach the point of no return--when the sea will freeze, making escape impossible. Gruhuken is not uninhabited. Jack is not alone. Something walks there in the dark...

    Gabe has brought his wife, Eve, and daughters, Loren and Cally, down to Devon, to the peaceful seaside village of Hollow Bay. He can work and Eve and the kids can have some peace and quiet and perhaps they can try, as a family, to come to terms with what's happened to them...Crickley Hall is an unusually large house on the outskirts of the village at the bottom of Devil's Cleave, a massive tree-lined gorge - the stuff of local legend. A river flows past the front garden. It's perfect for them...if it a bit gloomy. And Chester, their dog, seems really spooked at being away from home. And old houses do make sounds. And it's constantly cold. And even though they shut the cellar door every night, it's always open again in morning The Secret of Crickley Hall is James Herbert's finest novel to date. It explores the darker, more obtuse territories of evil and the supernatural. With brooding menace and rising tension, he masterfully and relentlessly draws the reader through to the ultimate revelation one that will stay to chill the mind long after the book has been laid aside.

    Upon discovering the rumors to be true, the young widow ends up forming a special companionship with the ghost of handsome former sea captain Daniel Gregg. Through the struggles of supporting her children, seeking out romance from the wrong places, and working to publish the captain's story as a book, Blood and Swash, Lucy finds in her secret relationship with Captain Gregg a comfort and blossoming love she never could have predicted. Originally published in 1945, made into a movie in 1947, and later adapted into a television sitcom in 1968, this romantic tale explores how love can develop without boundaries, both in this life and beyond.

    Benson.There's nothing sinister about a London bus. Nothing supernatural could occur on a busy Tube platform. There's nothing terrifying about a little caterpillar. And a telephone, what could be scary about that? Don't be frightened of the dark corners of your room. Don't be alarmed by a sudden, inexplicable chill. There's no need for a ticking clock, a limping footstep, or a knock at the door to start you trembling. There's nothing to be scared of. Nothing at all.

    At Gip's urging, the two go in — and things grow more and more curious by the minute. Counters, store fixtures, and mirrors seem to move around the room, and the shopkeeper is most mysterious of all. Gip is thrilled by all he sees, and his father is at first amused, but when things become stranger and sinister father is no longer sure where reality ends and illusion begins. Fantastical illustrations underscore the macabre atmosphere of the tale, make this a perfect book read aloud together again and again.

    The tale is centered on the death of a young girl, named Berenice, and the mysterious visions of her cousin, Egaeus.

    Montague, an occult scholar looking for solid evidence of a "haunting"; Theodora, the lighthearted assistant; Eleanor, a friendless, fragile young woman well acquainted with poltergeists; and Luke, the future heir of Hill House. At first, their stay seems destined to be merely a spooky encounter with inexplicable phenomena. But Hill House is gathering its powers—and soon it will choose one of them to make its own.

    The five other chilling stories in this collection echo a sense of dislocation and mock man's dominance over the natural world. The mountain paradise of 'Monte Verità' promises immortality, but at a terrible price; a neglected wife haunts her husband in the form of an apple tree; a professional photographer steps out from behind the camera and into his subject's life; a date with a cinema usherette leads to a walk in the cemetery; and a jealous father finds a remedy when three's a crowd . . .

    A rationalist Victorian visits a haunted house in order to explain the nature of its ghostly inhabitants.First published in Blackwood's, August 1859.

    James to Neil Gaiman, H.H. Munro to Audrey Niffenegger herself, Ghostly reveals the evolution of the ghost story genre with tales going back to the eighteenth century and into the modern era, ranging across styles from Gothic Horror to Victorian, stories about haunting--haunted children, animals, houses. Every story is introduced by Audrey Niffenegger, an acclaimed master of the craft, with some words on its background and why she chose to include it. Audrey's own story is "A Secret Life With Cats."     Perfect for the classic and contemporary ghost story aficionado, this is a delightful volume, beautifully illustrated by Audrey, who is a graphic artist with great vision. Ghostly showcases the best of the best in the field, including Edith Wharton, P.G. Wodehouse, A.S. Byatt, Ray Bradbury, and so many more.

    Two previous expeditions to investigate its secrets met with disaster, the participants destroyed by murder, suicide or insanity. Now a new investigation has been mounted - four strangers, each with his or her own reason for daring the unknown torments and temptations of the mansion...

    One door, one window. The window is boarded up. The former resident - a recluse - is deceased. Is there a story here?Estate liquidators make a living disposing of the personal effects of deceased persons. Typically these are elderly people who may have lived alone, and were considered a bit strange because of their aloofness. But as the liquidator goes through the effects of the deceased, they occasionally find a story. Letters, pictures, and other artifacts prove that this person was once young, vibrant, sexy, full of hopes dreams, and possibilities, intriguing and mysterious.Here, Ambrose Bierce explores some possibilities of the strange person that lived in the cabin with the boarded up window.Public Domain (P)2012 Audio Books by Mike Vendetti

    of whom I can affirm only one thing, that they haunted certain brains, and have haunted, among others, my own.” First published in 1890, Lee’s most famous volume of supernatural tales occupies a special place in the literature of the fantastic for its treatment of the femme fatale and the allure of the past, along with the themes of thwarted artistic creativity and psychological obsession. This collection, which includes the four stories originally published in Hauntings and three others, enables readers to consider Lee’s work anew for its subtle redefinitions of gender and sexuality during the Victorian fin-de-siècle.The appendices, which include extensive excerpts from writings by Lee’s predecessors and peers, including Algernon Charles Swinburne, Walter Pater, and Lee’s brother Eugene Lee-Hamilton, allow the reader to see how Lee takes on the themes and preoccupations of the late-Victorian period but adapts them to her own purposes.Preface to Hauntings (1890) -- Amour dure (1887, 1890) -- Dionea (1890) -- Oke of Okehurst (1886, 1890) -- A wicked voice (1887, 1890) -- Prince Alberic and the snake lady (1896) -- A wedding chest (1904) -- Preface to The virgin of the seven daggers (1927) -- The virgin of the seven daggers (1896, 1909,1927) -- Appendix A: From Algernon Charles Swinburne, "Notes on designs of the old masters at Florence" (1868, 1875) -- Appendix B: From Walter Pater, "Pico della Mirandula" (1871, 1873) -- Appendix C: From Walter Pater, "Lionardo da Vinci" (1869, 1873) -- Appendix D: Vernon Lee, "Faustus and Helena: notes on the supernatural in art" (1880, 1881) -- Appendix E: A. Mary F. Robinson, "Before a bust of Venus" (1881) -- Appendix F: Eugene Lee-Hamilton, "The mandolin" (1882) -- Appendix G: A. Mary F. Robinson, "The ladies of Milan" (1889) -- Appendix H: Eugene Lee-Hamilton, "On a surf-rolled torso of Venus" (1884, 1894) -- Appendix I: Vernon Lee, "Out of Venice at last" (1925).