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Acts of cross-cultural reading have ethical consequences. In Haunting Encounters, Joanne Lipson Freed traces the narrative strategies through which certain works of fiction forge connections with their readers across boundaries of difference. Freed uses the idea of haunting—an intense, temporary, and transformative encounter that defies rational understanding—as a metaphor for the kinds of ethical relationships that such works cultivate with their readers across boundaries of difference. Freed points out how such works as Toni Morrison's Beloved, Leslie Marmon Silko's Ceremony, and Arundhati Roy's The God of Small Things strike a delicate balance between empathy and alterity. Their engaging narratives, Freed argues, bring unfamiliar characters and distant settings to life for readers who encounter them as \"other,\" but they also highlight the limits of fiction, holding in check the impulse to colonize another's experience with one's own. Haunting Encounters is a sensitive and perceptive application of theory to real-world concerns. It draws together the fields of postcolonial fiction and narrative ethics and suggests original modes of engagement between readers and books that promise new ways of looking at the world.

Detective Fiction and the Ghost Story is a lively series of case studies celebrating the close relationship between detective fiction and the ghost story. It features many of the most famous authors from both genres including Conan Doyle, Agatha Christie, M. R. James and Tony Hillerman.

This book explores the ways in which political controversy over a bauxite mining and refining project on constitutionally protected tribal lands in Andhra Pradesh descended into a state of paralysis where no productive outcome was possible.

In Terra Incognita, Short Story Day Africa is proud to present nineteen stories of speculative fiction. Contained within the pages are stories that explore, among other things, the sexual magnetism of a tokoloshe, a deadly feud with a troop of baboons, a journey through colonial purgatory, along with ghosts, re-imagined folklore, and the fear of that which lies beneath both land and water. Terra Incognita. Uncharted depths. Africa unknowable.

The thoroughly expanded and updated New Companion to the Gothic , provides a series of stimulating insights into Gothic writing, its history and genealogy.The addition of 12 new essays and a section on 'Global Gothic' reflects the direction Gothic criticism has taken over the last decade.

Legend has it that the town of Sleepy Hollow is haunted by the ghost of the terrifying Headless Horseman.Ichabod Crane, the town's superstitious new school teacher, is about to find out if the legend is true.Ichabod has his heart set on marrying the beautiful heiress Katrina Van Tassel and acquiring her father's extravagant wealth.

Seventeen tales of untamed spirits in the newly expanded edition of the Spur Award finalist from the \"custodian of the twilight zone\" ( Southern Living). In these seventeen ghostly tales—including five new stories—Roberts expertly guides readers through eerie encounters and harrowing hauntings across Kansas, Montana, Wyoming, Colorado, Arizona, New Mexico, Texas, and the Dakotas. Along the way her accounts intersect with the lives (and afterlives) of legendary figures such as Wild Bill Hickok, Wyatt Earp, Bat Masterson, and Doc Holliday. Roberts also justifies the fascination among ghost hunters, folklorists, and interested tourists with notoriously haunted locales such as Deadwood, Tombstone, and Abilene through her tales of paranormal legends linked to these gunslinger towns synonymous with violence and vice in Western lore. But not all of these encounters feature frightening specters or wandering souls. Roberts also details episodes of animal spirits, protective presences, and supernatural healings. Forever destined to be associated with adventure, romance, and risk taking, the Wild West of yore still haunts the American imagination. Roberts reminds us here that our imaginations aren't the only places where restless ghosts still roam. \"Tales of vaporous ghost lights, haunted mesas, phantom gunmen, and reanimated skeletons. It's a book sure to please collectors of Western lore, fans of well-told, old-fashioned ghost tales and, it would seem to me, school librarians looking for just the right book to introduce middle school and high school readers to American folklore.\" —Michael Norman, author of Haunted Heartland

Once deemed the \"custodian of the twilight zone\" by Southern Living, celebrated storyteller and ghost hunter Nancy Roberts returns to familiar subject matter in this newly expanded edition of her Ghosts of the Wild West, a finalist for the Spur Award of the Western Writers of America in its original edition. In these seventeen ghostly tales—including five new stories—Roberts expertly guides readers through eerie encounters and harrowing hauntings across Kansas, Montana, Wyoming, Colorado, Arizona, New Mexico, Texas, and the Dakotas. Along the way her accounts intersect with the lives (and afterlives) of legendary figures such as Wild Bill Hickok, Wyatt Earp, Bat Masterson, and Doc Holliday. Roberts also justifies the fascination among ghost hunters, folklorists, and interested tourists with notoriously haunted locales such as Deadwood, Tombstone, and Abilene through her tales of paranormal legends linked to these gunslinger towns synonymous with violence and vice in Western lore. But not all of these encounters feature frightening specters or wandering souls. Roberts also details episodes of animal spirits, protective presences, and supernatural healings. Forever destined to be associated with adventure, romance, and risk taking, the Wild West of yore still haunts the American imagination. Roberts reminds us here that our imaginations aren't the only places where restless ghosts still roam.

This article explores the interplay between gender and genre in Oscar Wilde’s “The Canterville Ghost”. Applying frameworks from short story theory and criticism, it deepens and expands Maureen O’Connor’s claim that Wilde employs “dissident” narrative conventions to expose and subvert patriarchal discourse and Anne Markey’s conceptualization of this text as a polyphonic narrative space. To do so, the article begins by examining key plot moments to illustrate the “poetics of liminality” (Achilles and Bergmann 2015: 4) of this ghost story, which parodies and subverts various genre conventions to “amuse and disturb” its readers (Markey 2010: 136) before transforming into a horrifying exposé of the role of literary conventions in the normalization of gender violence (O’Connor 2004). It further explores the story’s reception in cinematic adaptations and academic criticism, revealing how comedic and sentimental genre conventions have often been heightened to obscure its darker, gendered themes. Finally, it focuses on the “condensation of multiple identities” (Achilles: 2015b) in the character of Virginia Otis, which complicates any straightforward reading of “The Canterville Ghost” as radical or reactive in terms of its gender politics. These discussions showcase Wilde’s mastery of the short story genre’s interrogative economy to challenge established literary conventions.