Here, for the first time, Aykroyd tells the strange and delightful story that inspired his son, Dan, to make the mega-hit, "Ghostbusters." Part history, part family legend, "A History of Ghosts "starts in 1848 in upstate New York, where the spiritualist craze first began. Aykroyd introduces the reader to notable mediums while telling the story of the development of spiritualism, interweaving a personal history marked by a fascination with ghosts and spirits with the larger narrative about the role the paranormal has played in our culture. Such legendary figures as Sir Arthur Conan Doyle and Harry Houdini appear and vanish.

    The stories she loves most follow other organic patterns found in nature―spirals, meanders, and explosions, among others. Alison’s manifesto for new modes of narrative will appeal to serious readers and writers alike. As Jane Alison writes in the introduction to her insightful and appealing book about the craft of writing: “For centuries there’s been one path through fiction we’re most likely to travel―one we’re actually told to follow―and that’s the dramatic arc: a situation arises, grows tense, reaches a peak, subsides. . . . But: something that swells and tautens until climax, then collapses? Bit masculo-sexual, no? So many other patterns run through nature, tracing other deep motions in life. Why not draw on them, too?”W. G. Sebald’s The Emigrants was the first novel to show Alison how forward momentum can be created by way of pattern, rather than the traditional arc―or, in nature, wave. Other writers of nonlinear prose considered in her “museum of specimens” include Nicholson Baker, Anne Carson, Marguerite Duras, Jamaica Kincaid, Clarice Lispector, Gabriel García Márquez, Susan Minot, David Mitchell, Caryl Phillips, and Mary Robison.Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies that also brings high spirits and wit to its original conclusions. It is a liberating manifesto that says, Let’s leave the outdated modes behind and, in thinking of new modes, bring feeling back to experimentation. It will appeal to serious readers and writers alike.

    The landscape of death becomes the new frontier for scientific exploration. With remarkable deftness, Rogers draws together the disturbing and the diverting in twenty-two showcase stories that will guide you through terrain at once familiar and startlingly fresh.

    This diverse and powerful body of literature has established a specific practice of post-colonial writing in cultures as various as India, Australia, the West Indies and Canada, and has challenged both the traditional canon and dominant ideas of literature and culture.The Empire Writes Back was the first major theoretical account of a wide range of post-colonial texts and their relation to the larger issues of post-colonial culture, and remains one of the most significant works published in this field. The authors, three leading figures in post-colonial studies, open up debates about the interrelationships of post-colonial literatures, investigate the powerful forces acting on language in the post-colonial text, and show how these texts constitute a radical critique of Eurocentric notions of literature and language.This book is brilliant not only for its incisive analysis, but for its accessibility for readers new to the field. Now with an additional chapter and an updated bibliography, The Empire Writes Back is essential for contemporary post-colonial studies.

    Ricoeur here examines the creation of meaning at the textual level, with narrative rather than metaphor as the ruling concern.Ricoeur finds a "healthy circle" between time and narrative: time is humanized to the extent that it portrays temporal experience. Ricoeur proposes a theoretical model of this circle using Augustine's theory of time and Aristotle's theory of plot and, further, develops an original thesis of the mimetic function of narrative. He concludes with a comprehensive survey and critique of modern discussions of historical knowledge, understanding, and writing from Aron and Mandelbaum in the late 1930s to the work of the Annales school and that of Anglophone philosophers of history of the 1960s and 1970s."This work, in my view, puts the whole problem of narrative, not to mention philosophy of history, on a new and higher plane of discussion."—Hayden White, History and Theory "Superb. . . . A fine point of entrance into the work of one of the eminent thinkers of the present intellectual age."—Joseph R. Gusfield, Contemporary Sociology

    In a large, romantic house in Amherst, Massachusetts, Leslie Garis, her two brothers, and their parents and grandparents aimed to live a life that mirrored the idyllic world the elder Garises created nonstop. But inside The Dell--where Robert Frost often sat in conversation over sherry, and stories appeared to spring from the very air--all was not right. Roger Garis's inability to match his parents' success in his own work as playwright, novelist, and magazine writer led to his conviction that he was a failure as father, husband, and son, and eventually deepened into mental illness characterized by raging mood swings, drug abuse, and bouts of debilitating and destructive depression. "House of Happy Endings "is Leslie Garis's mesmerizing, tender, and harrowing account of coming of age in a wildly imaginative, loving, but fatally wounded family.

    John Sutherland is perfectly suited to the task. He has researched, taught, and written on virtually every area of literature, and his infectious passion for books and reading has defined his own life. Now he guides young readers and the grown-ups in their lives on an entertaining journey 'through the wardrobe' to a greater awareness of how literature from across the world can transport us and help us to make sense of what it means to be human. Sutherland introduces great classics in his own irresistible way, enlivening his offerings with humor as well as learning: Beowulf, Shakespeare, Don Quixote, the Romantics, Dickens, Moby Dick, The Waste Land, Woolf, 1984, and dozens of others. He adds to these a less-expected, personal selection of authors and works, including literature usually considered well below 'serious attention' - from the rude jests of Anglo-Saxon runes to The Da Vinci Code. With masterful digressions into various themes - censorship, narrative tricks, self-publishing, taste, creativity, and madness - Sutherland demonstrates the full depth and intrigue of reading. For younger readers, he offers a proper introduction to literature, promising to interest as much as instruct. For more experienced readers, he promises just the same.

    There they will confront madness, murder, and the ultimate evil so that their billionaire host might find the key to life beyond the grave. But as they learn, dead souls dwell in The Pines. And death is just the beginning...

    In Anthony Grafton's engrossing account, footnotes to history give way to footnotes as history, recounting in their subtle way the curious story of the progress of knowledge in written form. Grafton treats the development of the footnote--the one form of proof normally supplied by historians in support of their assertions--as writers on science have long treated the development of laboratory equipment, statistical arguments, and reports on experiments: as a complex story, rich in human interest, that sheds light on the status of history as art, as science, and as an institution. The book starts in the Berlin of the brilliant nineteenth-century historian Leopold von Ranke, who is often credited with inventing documented history in its modern form. Casting back to antiquity and forward to the twentieth century, Grafton's investigation exposes Ranke's position as a far more ambiguous one and offers us a rich vision of the true origins and gradual triumph of the footnote. Among the protagonists of this story are Athanasius Kircher, who built numerous documents into his spectacularly speculative treatises on ancient Egypt and China; Pierre Bayle, who made the footnote a powerful tool in philosophical and historical polemics; and Edward Gibbon, who transformed it into a high form of literary artistry. Proceeding with the spirit of an intellectual mystery and peppered with intriguing and revealing remarks by those who "made" this history, The Footnote brings what is so often relegated to afterthought and marginalia to its rightful place in the center of the literary life of the mind.

    M. Forster's Aspects of the Novel and Milan Kundera's The Art of the Novel, How Fiction Works is a scintillating study of the magic of fiction--an analysis of its main elements and a celebration of its lasting power. Here one of the most prominent and stylish critics of our time looks into the machinery of storytelling to ask some fundamental questions: What do we mean when we say we "know" a fictional character? What constitutes a telling detail? When is a metaphor successful? Is Realism realistic? Why do some literary conventions become dated while others stay fresh?James Wood ranges widely, from Homer to Make Way for Ducklings, from the Bible to John le Carré, and his book is both a study of the techniques of fiction-making and an alternative history of the novel. Playful and profound, How Fiction Works will be enlightening to writers, readers, and anyone else interested in what happens on the page.

    In The Lost Art of Reading, David L. Ulin asks a number of timely questions - why is literature important? What does it offer, especially now? Blending commentary with memoir, Ulin addresses the importance of the simple act of reading in an increasingly digital culture. Reading a book, flipping through hard pages, or shuffling them on screen - it doesn't matter. The key is the act of reading, and it's seriousness and depth. Ulin emphasizes the importance of reflection and pause allowed by stopping to read a book, and the accompanying focus required to let the mind run free in a world that is not one's own. Are we willing to risk our collective interest in contemplation, nuanced thinking, and empathy? Far from preaching to the choir, The Lost Art of Reading is a call to arms, or rather, to pages.

    But they soon realize they are not as alone as they thought. Something wants them to leave. Meanwhile, in a nearby town, a young doctor investigating the suicide of an elderly woman discovers that she was obsessed with his vanished son. When the two stories collide, the shocking truth becomes horribly clear.In the vein of Stephen King and John Ajvide Lindqvist, this horrifying thriller, partly based on a true story, is the scariest novel yet from Yrsa Sigurdardóttir, who has captivated the attention of readers around the world with her mystery series featuring attorney Thora Gudmundsdottir. Now, Yrsa will stun readers once again with this out-of-this-world ghost story that will leave you shivering.

    On the edge of his grounds lies a derelict Edwardian railway station waiting room once used to transport troops in The Great War. Silent for many years, it has become a playground for Martin's children but now they won't go near it.Strange occurrences in the waiting room lead Martin to seek the help of TV's favourite ghost-hunter Julian Creed. But Creed's psychic ability is a fabrication to gain viewers. He doesn't believe in the paranormal. Until he spends a night in The Waiting Room.

    Maybe you’re frustrated with your writing progress or overwhelmed by creative doubt, burnout, or writer’s block. Maybe you just can’t seem to sit down and write.No matter the roadblock standing between you and writing success, here’s the good news: You’re capable of becoming the writer you want to be—and that work can begin today. In this actionable and empowering guide to personal writing success, Kristen Kieffer shares 25 insightful chapters designed to help you:• Cultivate confidence in your skills and stories• Develop a personal writing habit you can actually sustain• Improve your writing ability with tools for intentional growth• Discover what you (really) want from your writing life—and how to get it! By the end of Build Your Best Writing Life, you’ll know how to harness the simple techniques that can help you win your inner creative battles, finish projects you can be proud to share with the world, and work with focus to turn your writing dreams into reality.

    Now Dani Filth and Gavin Baddeley lay bare the fascinating underworld of contemporary culture. Dissecting the Satanic sources that have influenced and informed Cradle of Filth, with a roadmap to every significant landmark in the domains of darkness, including the arcane secrets of Black Magic, via the sex rites of vampirism. Artfully combining Hammer horror style schlock, dripping with eroticism, backed by authentic Black Arts info and a wicked sense of humor, this will dazzle devoted disciples of darkness. Contributors include actor Christopher Lee and Satanist Anton LaVey, to serial killer expert Robert Ressler and necrophile Karen Greenlee.