What do you love about Halloween?Scary stories that make you scream?Hayrides, pumpkins, the fall moonlight?An awesome costume or trick-or-treating at night?Ghosts, witches, a zombie ball?Maybe you just love it all!This poetry book is more than just a rhyme,It celebrates a magical time.Each story highlights a thing or two,Designed to excite and inspire you.Open this book and imagine each scene,It just may bewitch you this Halloween.

A witch invites the reader along for a ride on her broom to the best party of the year for ghosts, scarecrows, spiders, ravens, and witches.

This book introduces students to the anthropology of magic and witchcraft, terms widely used but without widely accepted definitions. It takes a new approach to this area within the anthropology of religion, demonstrating that the bases for these beliefs and alleged practices are inherent in human cognition and psychology, even instinctual, and likely rooted in our evolutionary biology. It shows how magic and magical thinking are regular elements in people’s daily lives, and that understanding the components of the witchcraft complex offers surprisingly important insights into patterns of thinking and social behavior. The book reviews the many meanings of “magic” and “witchcraft,” and introduces the best anthropological meanings of the terms. The components of these beliefs are timeless and universal; this fact, and recent advances in the brain sciences, suggest that the principles of magic are derived from basic processes of human thinking, and the attributes of the witch derive from neurobiologically based fears and fantasies. The propensity for such beliefs probably had adaptive significance in the evolutionary development of the human species; they are inherently human. This book is intended to focus anew on the core concepts of magic, witchcraft, and the supernatural, while also serving as an introduction to the anthropology of religion for undergraduate and graduate-level courses.

An abridged version of the 1937 an-thropological study of the Azande of the southern Sudan, the theoretical insights of which have proven increasingly influential among both anthropologists and others

A page-turning novel that is also an exploration of the great philosophical concepts of Western thought, Jostein Gaarder's Sophie's World has fired the imagination of readers all over the world, with more than twenty million copies in print. One day fourteen-year-old Sophie Amundsen comes home from school to find in her mailbox two notes, with one question on each: "Who are you?" and "Where does the world come from?" From that irresistible beginning, Sophie becomes obsessed with questions that take her far beyond what she knows of her Norwegian village. Through those letters, she enrolls in a kind of correspondence course, covering Socrates to Sartre, with a mysterious philosopher, while receiving letters addressed to another girl. Who is Hilde? And why does her mail keep turning up? To unravel this riddle, Sophie must use the philosophy she is learning—but the truth turns out to be far more complicated than she could have imagined.

Sixty-one tales narrated by Yaquis reflect this people's sense of the sacred and material value of their territory.

Ghosts and other supernatural phenomena are widely represented throughout modern culture. They can be found in any number of entertainment, commercial, and other contexts, but popular media or commodified representations of ghosts can be quite different from the beliefs people hold about them, based on tradition or direct experience. Personal belief and cultural tradition on the one hand, and popular and commercial representation on the other, nevertheless continually feed each other. They frequently share space in how people think about the supernatural. In Haunting Experiences, three well-known folklorists seek to broaden the discussion of ghost lore by examining it from a variety of angles in various modern contexts. Diane E. Goldstein, Sylvia Ann Grider, and Jeannie Banks Thomas take ghosts seriously, as they draw on contemporary scholarship that emphasizes both the basis of belief in experience (rather than mere fantasy) and the usefulness of ghost stories. They look closely at the narrative role of such lore in matters such as socialization and gender. And they unravel the complex mix of mass media, commodification, and popular culture that today puts old spirits into new contexts.

The New York Times bestseller and basis for the Tony-winning hit musical, soon to be a major motion picture starring Cynthia Erivo and Ariana Grande With millions of copies in print around the world, Gregory Maguire’s Wicked is established not only as a commentary on our time but as a novel to revisit for years to come. Wicked relishes the inspired inventions of L. Frank Baum’s 1900 novel, The Wonderful Wizard of Oz, while playing sleight of hand with our collective memories of the 1939 MGM film starring Margaret Hamilton (and Judy Garland). In this fast-paced, fantastically real, and supremely entertaining novel, Maguire has populated the largely unknown world of Oz with the power of his own imagination. Years before Dorothy and her dog crash-land, another little girl makes her presence known in Oz. This girl, Elphaba, is born with emerald-green skin—no easy burden in a land as mean and poor as Oz, where superstition and magic are not strong enough to explain or overcome the natural disasters of flood and famine. Still, Elphaba is smart, and by the time she enters Shiz University, she becomes a member of a charmed circle of Oz’s most promising young citizens. But Elphaba’s Oz is no utopia. The Wizard’s secret police are everywhere. Animals—those creatures with voices, souls, and minds—are threatened with exile. Young Elphaba, green and wild and misunderstood, is determined to protect the Animals—even if it means combating the mysterious Wizard, even if it means risking her single chance at romance. Ever wiser in guilt and sorrow, she can find herself grateful when the world declares her a witch. And she can even make herself glad for that young girl from Kansas. Recognized as an iconoclastic tour de force on its initial publication, the novel has inspired the blockbuster musical of the same name—one of the longest-running plays in Broadway history. Popular, indeed. But while the novel’s distant cousins hail from the traditions of magical realism, mythopoeic fantasy, and sprawling nineteenth-century sagas of moral urgency, Maguire’s Wicked is as unique as its green-skinned witch.

Once upon a time, there lived a girl named Fallon, who was taken far away from home shortly after she was born. A home that held more than strange traditions and bizarre superstitions.Twenty-four years later, she returned to Weeping Hollow, a haunting town she'd only heard about in stories during restless nights under a marble moon, to meet her last living relative. They called her a freakshow--a ghost. They said I couldn't go near her.Still, there was this aching pull to Fallon Grimaldi that I couldn't escape.A nostalgic pull as if we'd been here before.Once upon a time, there lived a mysterious man named Julian with a curse as old as centuries wrapped around his soul. He was one of the four Hollow Heathens, the very dark creatures who caused the town's people to live in fear. And the Blackwell name was stained with darkness and death.They called him a monster. Cold and hollow. They said I shouldn't go near him.Still, there was this aching pull to Julian Blackwell that I couldn't escape.A nostalgic pull as if we'd been here before.

A basic text for radical faeries, but very loose on historic veracity.--Jim Kepner.