I had been shot. A bullet in my back. I fell. Where did I fall? I fell from a great height, it seemed, into a painting in a gallery in a great City. I found myself returning across centuries and generations to the end of my age. I had been caught by the Artist in what seemed the womb of unexpected being in which one becomes sensitive to the end one has reached and to a new beginning. It was an end, it was a new beginning one was called upon to probe and discover. We may dream, while still alive, of dying. But the dream is soon forgotten as are the edges and corners of a re-lived life of which we dream. It is buried in the unconscious. We know that life fades into death but, in what degree, does life re-live itself as it dreams of dying? The Ghost of Memory is a novel about life and death or rather - to put it somewhat differently - about the close, almost indefinable cross-culturalities between moments of life and death. This is played out through a man who is mistakenly shot as a terrorist - he sees himself

Ghosts of Memory provides an overview of literature on relatedness and memory and then moves beyond traditional approaches to the subject, exploring the subtle and complex intersections between everyday forms of relatedness in the present and memories of the past. Explores how various subjects are located in personal and familial histories that connect to the wider political formations of which they are a part Closely examines diverse and intriguing case studies, e.g. Catholic residents of a decayed railway colony in Bengal, and sex workers in London Brings together original essays authored by contemporary experts in the field Draws on anthropology, literature, memory studies, and social history

Past and present collide when a secret from the 1920s wreaks havoc on Marlow House. Walt struggles to remember what he may have forgotten before it’s too late.

The Civil War tends to be remembered as a vast sequence of battles, with a turning point at Gettysburg and a culmination at Appomattox. But in the guerrilla theater, the conflict was a vast sequence of home invasions, local traumas, and social degeneration that did not necessarily end in 1865. This book chronicles the history of “guerrilla memory,” the collision of the Civil War memory “industry” with the somber realities of irregular warfare in the borderlands of Missouri and Kansas. In the first accounting of its kind, Matthew Christopher Hulbert’s book analyzes the cultural politics behind how Americans have remembered, misremembered, and re-remembered guerrilla warfare in political rhetoric, historical scholarship, literature, and film and at reunions and on the stage. By probing how memories of the guerrilla war were intentionally designed, created, silenced, updated, and even destroyed, Hulbert ultimately reveals a continent-wide story in which Confederate bushwhackers—pariahs of the eastern struggle over slavery—were transformed into the vanguards of American imperialism in the West.

In an experiment that occurred some forty years ago, Henry M.'s memory was stolen from him during a highly controversial operation performed to cure his epilepsy. Part poetic reflection and philosophical meditation, part popular science and investigative journalism, Memory's Ghost is an unforgettable journey into the mysteries of the human mind.

In 1929, in a remote county of the Arkansas Ozarks, the gruesome murder of harmonica-playing drifter Connie Franklin and the brutal rape of his teenaged fiancée captured the attention of a nation on the cusp of the Great Depression. National press from coast to coast ran stories of the sensational exploits of night-riding moonshiners, powerful "Barons of the Hills," and a world of feudal oppression in the isolation of the rugged Ozarks. The ensuing arrest of five local men for both crimes and the confusion and superstition surrounding the trial and conviction gave Stone County a dubious and short-lived notoriety. Closely examining how the story and its regional setting were interpreted by the media, Brooks Blevins recounts the gripping events of the murder investigation and trial, where a man claiming to be the murder victim--the "Ghost" of the Ozarks--appeared to testify. Local conditions in Stone County, which had no electricity and only one long-distance telephone line, frustrated the dozen or more reporters who found their way to the rural Ozarks, and the developments following the arrests often prompted reporters' caricatures of the region: accusations of imposture and insanity, revelations of hidden pasts and assumed names, and threats of widespread violence. Locating the past squarely within the major currents of American history, Ghost of the Ozarks: Murder and Memory in the Upland South paints a convincing backdrop to a story that, more than 80 years later, remains riddled with mystery.

The first monograph to investigate the poetics and politics of haunting in African diaspora literature, Ghosts of the African Diaspora: Re-Visioning History, Memory, and Identity examines literary works by five contemporary writers - Fred D'Aguiar, Gloria Naylor, Paule Marshall, Michelle Cliff, and Toni Morrison. Joanne Chassot argues that reading these texts through the lens of the ghost does cultural, theoretical, and political work crucial to the writers' engagement with issues of identity, memory, and history. Drawing on memory and trauma studies, postcolonial studies, and queer theory, this truly interdisciplinary volume makes an important contribution to the fast-growing field of spectrality studies.

This book is a groundbreaking attempt to rethink the landscapes of the social world and historical practice by theorising ‘social haunting’: the ways in which the social forms, figures, phantasms and ghosts of the past become present to us time and time again. Examining the relationship between historical practices such as archaeology and archival work in order to think about how the social landscape is reinvented with reference to the ghosts of the past, the author explores the literary and historical status and accounts of the ghost, not for what they might tell us about these figures, but for their significance for our, constantly re-invented, re-vivified, re-ghosted social world. With chapters on haunted houses and castles, slave ghosts, the haunting airs of music, the prehistoric origin of spirits, Marxist spectres, Freudian revenants, and the ghosts in the machine, Ghosts, Landscapes and Social Memory adopts multi-disciplinary methods for understanding the past, the dead and social ghosts and the landscapes they appear in. A sociology of haunting that illustrates how social landscapes have their genesis and perpetuation in haunting and the past, this volume will appeal to sociologists and social theorists with interests in memory, haunting and culture.

When I wake up at Locklear Academy, I have no memory of how I got here... or any memories at all. Oh, yeah, and did I mention that I'm dead? If I ever want to pass on, I'm going to have to recover my past. Easier said than done. But Locklear, aka Ghost Academy, specializes in helping spirits take care of their unfinished business. There are just a few problems. First, the X-ers, an extremist group whose main goal is to forcibly send ghosts like me into the great whatever beyond, painfully and without that sense of peace we crave. Then there's the polter-ghost who has been following me around since I got here. But my biggest distraction comes in the form of Rafe: a fox shifter with the most adorable dimples, carrying around way more guilt than any ghost deserves. Maybe I shouldn't have a crush in the afterlife, but I'm dead, not blind. As my memories start to resurface, so do the threats from the X-ers. The clock is ticking and every moment I'm here becomes more dangerous. Not just because of the X-ers, but because the more time I spend with Rafe, the less I want to move on.Ghost Academy is a YA paranormal academy / urban fantasy that will contribute to your reading related insomnia. This is book one of the Ghost Academy Duology and a spin off of Blakemore Academy.

The story that you have asked me to tell you does not begin with the pitiful ugliness of Lloyd’s death. It begins on a long-ago day in August when the sun seared my blistered face and I was nine years old and my father and mother sold me to a strange man. Memory, the narrator of Petina Gappah’s The Book of Memory, is an albino woman languishing in Chikurubi Maximum Security Prison in Harare, Zimbabwe, after being sentenced for murder. As part of her appeal, her lawyer insists that she write down what happened as she remembers it. The death penalty is a mandatory sentence for murder, and Memory is, both literally and metaphorically, writing for her life. As her story unfolds, Memory reveals that she has been tried and convicted for the murder of Lloyd Hendricks, her adopted father. But who was Lloyd Hendricks? Why does Memory feel no remorse for his death? And did everything happen exactly as she remembers? Moving between the townships of the poor and the suburbs of the rich, and between past and present, the 2009 Guardian First Book Award–winning writer Petina Gappah weaves a compelling tale of love, obsession, the relentlessness of fate, and the treachery of memory.