Roger and Carolyn Perron purchased the home of their dreams and eventual nightmares in December of 1970. The Arnold Estate, located just beyond the village of Harrisville, Rhode Island seemed the idyllic setting in which to raise a family. The couple unwittingly moved their five young daughters into the ancient and mysterious farmhouse. Secrets were kept and then revealed within a space shared by mortal and immortal alike. Time suddenly became irrelevant; fractured by spirits making their presence known then dispersing into the ether. The house is a portal to the past and a passage to the future. This is a sacred story of spiritual enlightenment, told some thirty years hence. The family is now somewhat less reticent to divulge a closely-guarded experience. Their odyssey is chronicled by the eldest sibling and is an unabridged account of a supernatural excursion. Ed and Lorraine Warren investigated this haunting in a futile attempt to intervene on their behalf. They consider the Perron family saga to be one of the most compelling and significant of a famously ghost-storied career as paranormal researchers. During a seance gone horribly wrong, they unleashed an unholy hostess; the spirit called Bathsheba; a God-forsaken soul. Perceiving herself to be the mistress of the house, she did not appreciate the competition. Carolyn had long been under siege; overt threats issued in the form of firea mother's greatest fear. It transformed the woman in unimaginable ways. After nearly a decade the family left a once beloved home behind though it will never leave them, as each remains haunted by a memory. This tale is an inspiring testament to the resilience of the human spirit on a pathway of discovery: an eternal journey for the living and the dead.

How far would you go to save your family? Milton Freeman witnessed the tragic demise of his parents in a freak accident. He would have given anything to have them back. But now his younger brother, Josh is in a life threatening condition. He is the only family left. He makes a deal to save his brother's life, but Milton is about to learn that some deals are better left alone. Something beyond his imagination is coming for him. An evil that intends to take his soul if he lets it.

Winner of the 2017 James M. Blaut Award from the Cultural and Political Ecology Specialty Group of the Association of American Geographers Honorable Mention for the 2016 Book Prize from the Association for Political and Legal Anthropology Since the 1960s, when Brazil first encouraged large-scale Amazonian colonization, violence and confusion have often accompanied national policies concerning land reform, corporate colonization, indigenous land rights, environmental protection, and private homesteading. Conjuring Property shows how, in a region that many perceive to be stateless, colonists - from highly capitalized ranchers to landless workers - adopt anticipatory stances while they await future governance intervention regarding land tenure. For Amazonian colonists, property is a dynamic category that becomes salient in the making: it is conjured through papers, appeals to state officials, and the manipulation of landscapes and memories of occupation. This timely study will be of interest to development studies scholars and practitioners, conservation ecologists, geographers, and anthropologists.

This book provides a sophisticated new interdisciplinary interpretation of the formulation and evolution of African American religion and culture. Theophus Smith argues for the central importance of "conjure"--a magical means of transforming reality--in black spirituality and culture. Smith shows that the Bible, the sacred text of Western civilization, has in fact functioned as a magical formulary for African Americans. Going back to slave religion, and continuing in black folk practice and literature to the present day, the Bible has provided African Americans with ritual prescriptions for prophetically re-envisioning, and thereby transforming, their history and culture. In effect the Bible is a "conjure book" for prescribing cures and curses, and for invoking extraordinary and Divine powers to effect changes in the conditions of human existence--and to bring about justice and freedom. Biblical themes, symbols, and figures like Moses, the Exodus, the Promised Land, and the Suffering Servant, as deployed by African Americans, have crucially formed and reformed not only black culture, but American society as a whole. Smith examines not only the religious and political uses of conjure, but its influence on black aesthetics, in music, drama, folklore, and literature. The concept of conjure, he shows, is at the heart of an indigenous and still vital spirituality, with exciting implications for reformulating the next generation of black studies and black theology. Even more broadly, Smith proposes, "conjuring culture" can function as a new paradigm for understanding Western religious and cultural phenomena generally.

This collection of essays explains the emergence of black women novelists in contemporary American literature and the cultural and personal influences that made it possible for them to find their literary authority. Beginning with the 19th century origins of the tradition--the autobiographical writings and slave narratives--the volume discusses individual writers such as Pauline Hopkins, Jessie Redmon Fauset, Ann Petry and Octavia Butler; the aggregate significance of fiction by black women; and their influence on each other. Novels examined include Toni Cade Bambara's The Salt Eaters, Ann Petry's The Street, and Toni Morrison's Song of Solomon and The Bluest Eye. ISBN 0-253-31407-0 : $29.95; ISBN 0-253-20360-0 (pbk.) : $10.95.

Eve has a new home, a new face, and a new name-but no memories of her past. She's been told that she's in a witness protection program. That she escaped a dangerous magic-wielding serial killer who still hunts her. The only thing she knows for sure is that there is something horrifying in her memories the people hiding her want to access-and there is nothing they won't say-or do-to her to get her to remember. At night she dreams of a tattered carnival tent and buttons being sewn into her skin. But during the day, she shelves books at the local library, trying to not let anyone know that she can do things-things like change the color of her eyes or walk through walls. When she does use her strange powers, she blacks out and is drawn into terrifying visions, returning to find that days or weeks have passed-and she's lost all short-term memories. Eve must find out who and what she really is before the killer finds her-but the truth may be more dangerous than anyone could have ever imagined.

For over five decades Ed and Lorraine Warren have been known as the world's most renowned paranormal investigators. Lorraine is a gifted clairvoyant, while Ed is the only non-ordained demonologist recognized by the Catholic Church. Together they have investigated thousands of hauntings in their career.

In 2013 an apparently simple, back-to-basics scary movie transformed horror cinema for the rest of the decade. Based on the allegedly true story of the Perron family haunting and subsequent investigation by ghost hunters Ed and Lorraine Warren, The Conjuring has to-date spawned six sequels and prequels, making up a Conjuring ‘universe’ that has taken over a billion dollars around the world. The New York Times called The Conjuring ‘a fantastically effective haunted-house movie’ which, following his earlier film Insidious, established director James Wan as a force in horror cinema. In this Devil’s Advocates, horror scholar Kevin Wetmore examines what elements in the film are truly terrifying, how the filmmakers’ claims of being based on a true story hold up against the actual history of the haunting and the Warrens, and the relationship between The Conjuring and the many films in its universe. Along the way this book also considers how games, toys and dolls play an important role in the series, offers a critique of gender roles in the films, and asks the question, what is actually ‘conjured’ in The Conjuring? The delightful result is an in-depth, close reading of a film that uses standard horror tropes masterfully to create a truly scary film.

Conjuring Freedom: Music and Masculinity in the Civil War's "Gospel Army" analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout. In this study, acknowledging the importance of conjure as a religious, political, and epistemological practice, Johari Jabir demonstrates how the musical performance allowed troop members to embody new identities in relation to national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-optive state antiracism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. Reflecting the structure of the ring shout--the counterclockwise song, dance, drum, and story in African American history and culture--Conjuring Freedom offers three new concepts to cultural studies in order to describe the practices, techniques, and implications of the troop's performance: (1) Black Communal Conservatories, borrowing from Robert Farris Thompson's "invisible academies" to describe the structural but spontaneous quality of black music-making, (2) Listening Hermeneutics, which accounts for the generative and material affects of sound on meaning-making, and (3) Sonic Politics, which points to the political implications of music's use in contemporary representations of race and history.

Everyone stumbles through life: some, more than others. Morgan Stark has been struggling from a young age. On her eighth birthday, she received many gifts, including one she believes is a curse-a rare sleepwalking disorder, doctors could only define as Episodic Violent Somnambulism. She and her parents have struggled ever since to understand what causes her condition, all to no avail. Now, at 19 years old, Morgan is finally leaving the nest, as she embarks on her freshman year at Brixton University with her best friend, Chelsea, at her side. Morgan fears that leaving her home may not have been the best choice, but it's a choice she'll have to endure in the coming months. She hopes that as an adult, her sleepwalking disorder will cease, so she can finally stop having the nightmarish visions she encounters as a result. All she wants is to have a typical college experience and blend in, but the laws of fate have other plans for Morgan.