Ireland’s Haunted Women tells the chilling tales of nine modern Irishwomen, and one young girl, who have experienced hauntings. This is not just another ghost book – no rehashing of old tales or stories borrowed from other collections. These cases are told here for the first time, collected from women the length and breadth of Ireland – women who are vulnerable to seeing ghosts, to house-hauntings and to demonic possession. We have come a long way from headless horsemen, pookas, banshees and the like. The modern ghost has to be more sophisticated than that. On the other hand, poltergeist activity has remained virtually unchanged down the centuries; scenes of past wickedness continue to haunt the living; the spirits of the deceased stubbornly insist on returning. Riveting, suspenseful, these tales of the paranormal will draw you in and leave you petrified! Whether you accept them as truth or reject them as delusion or false memory, we guarantee that they will leave you shaken and slow to switch off your bedside lamp for many nights to come.

This fascinating and insightful tour through present-day meetings of Spiritualists, UFOlogists, and dowsers illuminates our obsession with the paranormal and challenges the misunderstanding of the paranormal as a marginal or inconsequential feature of America's religious landscape. According to a 2005 Gallup poll, 75 percent of Americans believe in some form of paranormal activity. The United States has had a collective fascination with the paranormal since the mid-1800s, and it remains an integral part of our culture. Haunted Ground: Journeys through a Paranormal America examines three of the most vibrant paranormal gatherings in the United States—Lily Dale, a Spiritualist summer camp; the Roswell UFO Festival; and the American Society of Dowsers' annual convention of "water witches"—to explore and explain the reasons for our obsession with the paranormal. Both academically informed and thoroughly entertaining, this book takes readers on a "road trip" through our nation, guided by professor of American religion Darryl V. Caterine, PhD. The author interprets seemingly unrelated case studies of phantasmagoria collectively as an integral part of the modern discourse about "nature" as ultimate reality. Along the way, Dr. Caterine reveals how Americans' interest in the paranormal is rooted in their anxieties about cultural, political, and economic instability—and in a historic sense of alienation and homelessness.

An Post Irish Book Awards Nonfiction Book of the Year • A Guardian Best Book of 2020 • Shortlisted for the 2021 Rathbones Folio Prize • Longlisted for the 2021 Republic of Consciousness Prize • Winner of the James Tait Black Biography Prize • A New York Times New & Noteworthy Title • Longlisted for the 2021 Gordon Burn Prize • A Buzzfeed Recommended Summer Read • A Publishers Weekly Best Book of 2021 • A Book Riot Best Book of 2022 • An NPR Best Book of 2021 • A Chicago Public Library Best Book of 2021 • A Globe and Mail Book of the Year • A Winnipeg Free Press Top Read of 2021 • An Entropy Magazine Best of the Year • A LitHub Best Book of 2021 • A New York Times Critics' Top Book of 2021 • A National Book Critics Circle Award Finalist When we first met, I was a child, and she had been dead for centuries. On discovering her murdered husband’s body, an eighteenth-century Irish noblewoman drinks handfuls of his blood and composes an extraordinary lament. Eibhlín Dubh Ní Chonaill’s poem travels through the centuries, finding its way to a new mother who has narrowly avoided her own fatal tragedy. When she realizes that the literature dedicated to the poem reduces Eibhlín Dubh’s life to flimsy sketches, she wants more: the details of the poet’s girlhood and old age; her unique rages, joys, sorrows, and desires; the shape of her days and site of her final place of rest. What follows is an adventure in which Doireann Ní Ghríofa sets out to discover Eibhlín Dubh’s erased life—and in doing so, discovers her own. Moving fluidly between past and present, quest and elegy, poetry and those who make it, A Ghost in the Throat is a shapeshifting book: a record of literary obsession; a narrative about the erasure of a people, of a language, of women; a meditation on motherhood and on translation; and an unforgettable story about finding your voice by freeing another’s.

Discover the darker side of Cork with this collection of spine-chilling tales from the archives of the Paranormal Database. Featuring stories of unexplained phenomena, apparitions, poltergeists, changelings, and banshees and including accounts of mysterious vanishing islands, ghosts of shipwrecked Spanish sailors, as well as the story behind the legendary Blarney Stone, this book contains many spooky narratives that are guaranteed to make your blood run cold. Drawing on historical and contemporary sources and containing many tales which have never before been published, Haunted Cork will delight everyone interested in the paranormal.

Published for the first time in over a hundred years, Mildred Darby's "The House of Horrors" is her first-hand account of one of the world's most terrifying hauntings. Although written under the pen name of Andrew Merry, with the name of the castle changed from Leap to Kliman Castle and using pseudonyms in order to protect the identity of those involved, all of the incidents dramatized in her narrative are true, having occurred in the Darby's Leap Castle home. With sightings over the centuries of at least nineteen individual ghosts, accounts of the sounds of a phantom battle being heard to play out upon the castle grounds, a banshee and the frighteningly hideous and oppressively foul-smelling Elemental; Leap Castle truly merits its longstanding reputation as "The most Haunted Castle in Ireland." In addition to Mildred Darby's original account, this new edition features a comprehensive Introduction providing relevant historical background as well as first-hand witness accounts attesting to the factual basis of Mildred Darby's account.

After disturbing a dead man in his grave an Irish girl nearly pays with her life, but thanks to her cleverness and bravery she finds love and riches instead.

What is it about Ireland' s past that so haunts the imagination? More than one answer can be found in Michael Scott's powerful new collection of 29 tales. To start with, in a newly Christianized Ireland, monks do battle with a devilish monster that has killed a river. All the water in this collection, from rivers to lakes, conceal dangers that men and women would best avoid. Ready to tempt Ireland' s new conquerors -- humankind-- supernatural forces hide beneath waves, in bogs, in the very land, waiting. With his usual inventiveness, Michael Scott juxtaposes the old and the new, the ancient and modern, showing that in everyday situations, the curses of Ireland' s mythic past lie imp- like, threatening destruction.

Provides an historical overview of women's mythmaking and thus their contributions to, and an alternative genealogy of, modern Irish theatre.

Attempting to rebuild her life after a violent relationship, Maggie Turner, a successful young artist, moves from London to Allihies and buys an ancient abandoned cottage. Keen to concentrate on her art, she is captivated by the wild beauty of her surroundings. After renovations, she hosts a house-warming weekend for friends. A drunken game with a Ouija board briefly descends into something more sinister, as Maggie apparently channels a spirit who refers to himself simply as 'The Master'. The others are visibly shaken, but the day after the whole thing is easily dismissed as the combination of suggestion and alcohol. Maggie immerses herself in her painting, but the work devolves, day by day, until her style is no longer recognisable. She glimpses things, hears voices, finds herself drawn to certain areas: a stone circle in the nearby hills, the reefs at the west end of the beach behind her home ... A compelling modern ghost story from a supremely talented writer. From the Costa Short Story Award Finalist, Billy O'Callaghan. 'a welcome voice to the pantheon of new Irish writing' - Edna O'Brien