Victorian Hauntings asks its reader to consider the following questions: What does it mean to read or write with ghosts, or to suggest that acts of reading or writing are haunted? In what ways can authors in the nineteenth century be read so as to acknowledge the various phantom effects which return within their texts? In what ways do the traces of such "ghost writing" surface in the works of Dickens, Tennyson, Eliot and Hardy? How does the work of spectrality, revenance and the uncanny transform materially both the forms of the literary in the Victorian era and our reception of it today? Beginning with an expoloration of matters of haunting, the uncanny, the gothic and the spectral, Julian Wolfreys traces the ghostly resonances at work in Victorian writing and how such persistence addresses isues of memory and responsibility which haunt the work of reading. 'Taking the familiar genre of the Gothic as a point of departure and revisiting it through Derridean theory, Wolfreys' book, the first application of "hauntology" to the domain of Victorian Studies is a remarkable achievement. Wolfreys never reduces reading to instrumentality but remains alert to all the potentialities of the texts he reads with a great attention to their idiosyncrasies. Victorian Hauntings should bring a new tone to Victorian Studies, this clever book is quite perfect.' - Jean Michel Rabate, Professor of English, University of Pennsylvania 'You'd have to be dead to know more about ghosts than Julian Wolfreys.' - Martin McQuillan, University of Leeds

Full texts of "The Uninhabited House" by Riddell; "The Amber Witch" by Meinhold; "Monsieur Maurice" by Edwards; "A Phantom Lover" by Lee; and "The Ghost of Muir House" by Beale. 6 illustrations.

An interesting rereading of familiar texts by Emily and Charlotte Bronte, Elizabeth Gaskell, and George Eliot recovering the historical and literary roots of the supernatural as it appears in each women's work. Dickerson (English, Rhodes College) makes interesting observations about women's changing roles in the 19th century when scientific advancements relegated women to the home as arbiters of the spiritual while men occupied themselves with "rational" invention. Through close readings, she demonstrates how the Brontes, Gaskell, and Eliot resisted this division and, simultaneously, created a spiritual genre of writing traditionally denigrated by critics. Annotation copyrighted by Book News, Inc., Portland, OR

Victorian writers excelled at the ghost story. Here editor Michael Cox brings together well wrought tales of haunted houses, vengeful spirits, spectral warnings, invisible antagonists, and motiveless malignity from beyond the grave. Traditional in form but inventive and infused with a relish of the supernatural, these classic ghost stories still retain their original power to unsettle and surprise.

Old Louisville in Louisville, Kentucky, is the third-largest National Preservation District in the United States and the largest Victorian-era neighborhood in the country. Beneath the balconies and terraces of the district's Gothic, Queen Anne, and Beaux Arts mansions, current residents trade riveting stories about their historic homes. Many of these tales defy rational explanation. When David Dominé moved into one of these houses, he dismissed local rumors of a resident poltergeist named Lucy. However, before long, unnerving, disembodied footsteps and mysterious odors caused him to flee his home in the middle of the night. Since that night, David Dominé not only embraced the possibility of supernatural phenomenon but also turned it into a popular tour series and best-selling collection of books, which have brought new attention to this iconic neighborhood. The book that launched the guided tours, Ghosts of Old Louisville, introduced readers to the hauntingly beautiful Lady of the Stairs and the Widow Hoag, who waits eternally near Fountain Court for a lost child who will never return. These tales of things that go bump in the night not only reveal why Old Louisville is considered the "most haunted neighborhood in America," but also help to preserve this historically and architecturally significant community.

This book resituates the ghost story as a matter of literary hospitality and as part of a vital prehistory of modernism, seeing it not as a quaint neo-gothic ornament, but as a powerful literary response to the technological and psychological disturbances that marked the end of the Victorian era. Linking little-studied authors like M. R. James and May Sinclair to such canonical figures as Dickens, Henry James, Woolf, and Joyce, Thurston argues that the literary ghost should be seen as no mere relic of gothic style but as a portal of discovery, an opening onto the central modernist problem of how to write 'life itself.' Ghost stories are split between an ironic, often parodic reference to Gothic style and an evocation of 'life itself, ' an implicit repudiation of all literary style. Reading the ghost story as both a guest and a host story, this book traces the ghost as a disruptive figure in the 'hospitable' space of narrative from Maturin, Poe and Dickens to the fin de siècle, and then on into the twentieth century.

Publisher Description

A new anthology of twenty ghostly tales of Yuletide terror, collected from rare Victorian periodicals Seeking to capitalize on the success of Charles Dickens's A Christmas Carol (1843), Victorian newspapers and magazines frequently featured ghost stories at Christmas time, and reading them by candlelight or the fireside became an annual tradition, a tradition Valancourt Books is pleased to continue with our series of Victorian Christmas ghost stories. This third volume contains twenty tales, most of them never before reprinted. They represent a mix of the diverse styles and themes common to Victorian ghost fiction and include works by once-popular authors like Ellen Wood and Charlotte Riddell as well as contributions from anonymous or wholly forgotten writers. This volume also features a new introduction by Prof. Simon Stern. "Before me, with the sickly light from the lantern shining right down upon it, was--a cloven hoof! Then the awfulness of the compact I had made came to my mind with terrible force ..." - Frederick Manley, "The Ghost of the Cross-Roads" "By the fireplace there was a large hideous pool of blood soaking into the carpet, and leaving ghastly stains around. I am not ashamed to confess that my brain reeled; the mysterious horror overcame me ..." - Lillie Harris, "19, Great Hanover Street" "A fearful white face comes to me; a horrible mask, with features drawn as in agony--ghastly, pale, hideous! Death or approaching death, violent death, written in every line. Every feature distorted. Eyes starting from the head. Thin lips moving and working--lips that are cursing, although I hear no sound." - Hugh Conway, "A Dead Man's Face"

Untraceable whispering voices.Gnome-like spirits who walk through walls.A room that glows with an eerie, life-draining light.Disembodied footsteps that climb stairs but never descend.A house with doors that open by themselves-even when locked.After a period of strong skepticism among writers and intellects regarding the reality of ghosts, the Victorian era (1837-1901) revitalized interest in seriously exploring houses and other locations alleged to be haunted. The paranormal investigators, including Charles Dickens and Arthur Conan Doyle, chronicled their methods and discoveries. Equipped with little more than candles, patience, and perhaps a flask of brandy, these men and women laid a foundation for the ghost hunters of today.The Victorian Ghost Hunter's Casebook presents some of the most intriguing, most frightening, and most charming of the chronicles left behind. Ghostlore scholar Tim Prasil provides an Introduction about what motivated the Victorians to investigate spectral manifestations, along with the history of ghost hunters that preceded them. He also provides enlightening details on twelve ghostly cases located in Britain, and an Appendix with two more ghost hunts held in the United States during the Victorian era.

The first-ever collection of Victorian Christmas ghost stories, culled from rare 19th-century periodicals During the Victorian era, it became traditional for publishers of newspapers and magazines to print ghost stories during the Christmas season for chilling winter reading by the fireside or candlelight. Now for the first time thirteen of these tales are collected here, including a wide range of stories from a diverse group of authors, some well-known, others anonymous or forgotten. Readers whose only previous experience with Victorian Christmas ghost stories has been Charles Dickens's "A Christmas Carol" will be surprised and delighted at the astonishing variety of ghostly tales in this volume. "In the sickly light I saw it lying on the bed, with its grim head on the pillow. A man? Or a corpse arisen from its unhallowed grave, and awaiting the demon that animated it?" - John Berwick Harwood, "Horror: A True Tale" "Suddenly I aroused with a start and as ghostly a thrill of horror as ever I remember to have felt in my life. Something--what, I knew not--seemed near, something nameless, but unutterably awful." - Ada Buisson, "The Ghost's Summons" "There was no longer any question what she was, or any thought of her being a living being. Upon a face which wore the fixed features of a corpse were imprinted the traces of the vilest and most hideous passions which had animated her while she lived." - Walter Scott, "The Tapestried Chamber"