“Here is Lincoln in the Bardo—for real. You couldn’t make it up—necromancers, mad actors, frauds, true believers, and, in the middle, the greatest President.” —Sidney Blumenthal, author of The Political Life of Abraham Lincoln The story of Abraham Lincoln as it has never been told before: through the strange, even otherworldly, points of contact between his family and that of the man who killed him, John Wilkes Booth. In the 1820s, two families, unknown to each other, worked on farms in the American wilderness. It seemed unlikely that the families would ever meet—and yet, they did. The son of one family, the famed actor John Wilkes Booth, killed the son of the other, President Abraham Lincoln, in the most significant assassination in American history. The murder, however, did not come without warning—in fact, it had been foretold. In the Houses of Their Dead is the first book of the many thousands written about Lincoln to focus on the president’s fascination with Spiritualism, and to demonstrate how it linked him, uncannily, to the man who would kill him. Abraham Lincoln is usually seen as a rational, empirically-minded man, yet as acclaimed scholar and biographer Terry Alford reveals, he was also deeply superstitious and drawn to the irrational. Like millions of other Americans, including the Booths, Lincoln and his wife, Mary, suffered repeated personal tragedies, and turned for solace to Spiritualism, a new practice sweeping the nation that held that the dead were nearby and could be contacted by the living. Remarkably, the Lincolns and the Booths even used the same mediums, including Charles Colchester, a specialist in “blood writing” whom Mary first brought to her husband, and who warned the president after listening to the ravings of another of his clients, John Wilkes Booth. Alford’s expansive, richly-textured chronicle follows the two families across the nineteenth century, uncovering new facts and stories about Abraham and Mary while drawing indelible portraits of the Booths—from patriarch Julius, a famous actor in his own right, to brother Edwin, the most talented member of the family and a man who feared peacock feathers, to their confidant Adam Badeau, who would become, strangely, the ghostwriter for President Ulysses S. Grant. At every turn, Alford shows that despite the progress of the age—the glass hypodermic syringe, electromagnetic induction, and much more—death remained ever-present, and thus it was only rational for millions of Americans, from the president on down, to cling to beliefs that seem anything but. A novelistic narrative of two exceptional American families set against the convulsions their times, In the Houses of Their Dead ultimately leads us to consider how ghost stories helped shape the nation.

In the 1820s, two families, unknown to each other, worked on farms in the American wilderness. It seemed unlikely that the families would ever meet—and yet, they did. The son of one family, the famed actor John Wilkes Booth, killed the son of the other, President Abraham Lincoln, in the most significant assassination in American history. The murder, however, did not come without warning—in fact, it had been foretold. In the Houses of Their Dead is the first book of the many thousands written about Lincoln to focus on the president’s fascination with Spiritualism, and to demonstrate how it linked him, uncannily, to the man who would kill him. Abraham Lincoln is usually seen as a rational, empirically-minded man, yet as acclaimed scholar and biographer Terry Alford reveals, he was also deeply superstitious and drawn to the irrational. Like millions of other Americans, including the Booths, Lincoln and his wife, Mary, suffered repeated personal tragedies, and turned for solace to Spiritualism, a new practice sweeping the nation that held that the dead were nearby and could be contacted by the living. Remarkably, the Lincolns and the Booths even used the same mediums, including Charles Colchester, a specialist in “blood writing” whom Mary first brought to her husband, and who warned the president after listening to the ravings of another of his clients, John Wilkes Booth. Alford’s expansive, richly-textured chronicle follows the two families across the nineteenth century, uncovering new facts and stories about Abraham and Mary while drawing indelible portraits of the Booths—from patriarch Julius, a famous actor in his own right, to brother Edwin, the most talented member of the family and a man who feared peacock feathers, to their confidant Adam Badeau, who would become, strangely, the ghostwriter for President Ulysses S. Grant. At every turn, Alford shows that despite the progress of the age—the glass hypodermic syringe, electromagnetic induction, and much more—death remained ever-present, and thus it was only rational for millions of Americans, from the president on down, to cling to beliefs that seem anything but. A novelistic narrative of two exceptional American families set against the convulsions their times, In the Houses of Their Dead ultimately leads us to consider how ghost stories helped shape the nation.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 The minister found indifference, worldliness, and bigotry in Louisville. He thought that this was some practical joke being played on the greenest Yankee in the slaveholding city. But, no. Booth was deeply affected. #2 Junius Brutus Booth, an actor, immigrated to the United States in 1821 with his companion Mary Ann Holmes. They had ten children, including Edwin and John Wilkes. Their lives were destroyed by their father’s alcoholism and mental illness. #3 After the death of his children, Junius became extremely depressed. He blamed his manager, Thomas Hamblin, for eating pork, and he challenged him to a duel. #4 Edwin was born on the night of November 13, 1833. The Leonid Meteor Shower of 1833 occurred over his head, and some thought that those born with it were divinely favored.

Combining poetic language and the traditions of magic realism to paint a vivid portrait of her family, Pat Mora’s House of Houses is an unconventional memoir that reads as if every member, death notwithstanding, is in one room talking, laughing, and crying. In a salute to the Day of the Dead, the story begins with a visit to the cemetery in which all of her deceased relatives come alive to share stories of the family, literally bringing the food to their own funerals. From there the book covers a year in the life of her clan, revealing the personalities and events that Mora herself so desperately yearns to know and understand.

Written in response to the Hawk's Nest Tunnel disaster of 1931 in Gauley Bridge, West Virginia, The Book of the Dead is an important part of West Virginia's cultural heritage and a powerful account of one of the worst industrial catastrophes in American history. The poems collected here investigate the roots of a tragedy that killed hundreds of workers, most of them African American. They are a rare engagement with the overlap between race and environment in Appalachia. Published for the first time alongside photographs by Nancy Naumburg, who accompanied Rukeyser to Gauley Bridge in 1936, this edition of The Book of the Dead includes an introduction by Catherine Venable Moore, whose writing on the topic has been anthologized in Best American Essays.

There are many ways to show our devotion to an author besides reading his or her works. Graves make for popular pilgrimage sites, but far more popular are writers' house museums. What is it we hope to accomplish by trekking to the home of a dead author? We may go in search of the point of inspiration, eager to stand on the very spot where our favorite literary characters first came to life—and find ourselves instead in the house where the author himself was conceived, or where she drew her last breath. Perhaps it is a place through which our writer passed only briefly, or maybe it really was a longtime home—now thoroughly remade as a decorator's show-house. In A Skeptic's Guide to Writers' Houses Anne Trubek takes a vexed, often funny, and always thoughtful tour of a goodly number of house museums across the nation. In Key West she visits the shamelessly ersatz shrine to a hard-living Ernest Hemingway, while meditating on his lost Cuban farm and the sterile Idaho house in which he committed suicide. In Hannibal, Missouri, she walks the fuzzy line between fact and fiction, as she visits the home of the young Samuel Clemens—and the purported haunts of Tom Sawyer, Becky Thatcher, and Injun' Joe. She hits literary pay-dirt in Concord, Massachusetts, the nineteenth-century mecca that gave home to Hawthorne, Emerson, and Thoreau—and yet could not accommodate a surprisingly complex Louisa May Alcott. She takes us along the trail of residences that Edgar Allan Poe left behind in the wake of his many failures and to the burned-out shell of a California house with which Jack London staked his claim on posterity. In Dayton, Ohio, a charismatic guide brings Paul Laurence Dunbar to compelling life for those few visitors willing to listen; in Cleveland, Trubek finds a moving remembrance of Charles Chesnutt in a house that no longer stands. Why is it that we visit writers' houses? Although admittedly skeptical about the stories these buildings tell us about their former inhabitants, Anne Trubek carries us along as she falls at least a little bit in love with each stop on her itinerary and finds in each some truth about literature, history, and contemporary America.

An educated, aristocratic slave, Abd Rahman Ibrahima was overseer of the large cotton and tobacco plantation of his master. After more than twenty-five years, when he was finally freed, sixty-six-year-old Ibrahima sailed for Africa with his wife, two sons, and several grandchildren, and died there of fever just five months after his arrival. Prince Among Slaves is the first full account of Ibrahima's life, pieced together from first-person accounts and historical documents. It is not only a remarkable story, but the story of a remarkable man, who endured the humiliation of slavery without ever losing his dignity or his hope for freedom.

Once upon a time, Jacobia "Jake" Tiptree was a hotshot money manager to Manhattan's rich and dreadful - until she left city life behind for a centuries-old fixer-upper in the quaint seaside town of Eastport, Maine. But even this tiny haven has its hazards - and they can be astonishingly deadly... What would you do if a long-buried book was unearthed from beneath your 1823 fixer-upper a book containing your name written in blood? That's the mystery Jake faces in the midst of her latest old-house renovations. But it's only the first in a town better known for its scenic views and historic homes than its body count. Now Jake is putting aside her hammer and fixing to find someone who's got the blueprint for a perfect murder.

Now a Netflix Feature Film! “A heart-pounding page-turner with an outstanding cast of characters, a deliciously creepy setting, and an absolutely merciless body count.” –Courtney Summers, New York Times bestselling author of Sadie and The Project A New York Times bestseller It’s been almost a year since Makani Young came to live with her grandmother and she’s still adjusting to her new life in rural Nebraska. Then, one by one, students at her high school begin to die in a series of gruesome murders, each with increasing and grotesque flair. As the body count rises and the terror grows closer, can Makani survive the killer’s twisted plan?

Features a biographical sketch of the American actor John Wilkes Booth (1838-1865). Notes that Booth shot and killed the U.S. President Abraham Lincoln on April 14, 1865.