Blue Light of the Screen is a memoir about the author's obsession with horror and the supernatural. Blue Light of the Screen is about what it means to be afraid -- about immersion, superstition, delusion, and the things that keep us up at night. A creative-critical memoir of the author's obsession with the horror genre, Blue Light of the Screen embeds its criticism of horror within a larger personal story of growing up in a devoutly Catholic family, overcoming suicidal depression, uncovering intergenerational trauma, and encountering real and imagined ghosts. As Cronin writes, she positions herself as a protagonist who is haunted by what she watches and reads, like an antiquarian in an M.R. James ghost story whose sense of reality unravels through her study of arcane texts and cursed archives. In this way, Blue Light of the Screen tells the story of the author's conversion from skepticism to faith in the supernatural. Part memoir, part ghost story, and part critical theory, Blue Light of the Screen is not just a book about horror, but a work of horror itself.
“Spine-tingling ghost stories . . . Thrilling tales of the Bluff City’s past” (Memphis Reads). Much like its muddy riverbanks, the mid-South is flooded with tales of shadowy spirits lurking among us. Beyond the rhythm of the blues and tapping of blue suede shoes is a history steeped in horror. From the restless souls of Elmwood Cemetery to the voodoo vices of Beale Street, phantom hymns of the Orpheum Theatre and Civil War soldiers still looking for a fight, peer beyond the shadows of the city’s most historic sites. Author and lifelong resident Laura Cunningham expertly blends fright with history and presents the ghostly legends from Beale to Bartlett, Germantown to Collierville, in this one-of-a-kind volume no resident or visitor should be without. Includes photos! “There are plenty of places in Memphis to go where the spirits aren’t in costume or getting paid to make you scream. Laura Cunningham reveals all the terrifying details in [ Haunted Memphis].” —WREG.com
" West Virginia boasts an unusually rich heritage of ghost tales. Originally West Virginians told these hundred stories not for idle amusement but to report supernatural experiences that defied ordinary human explanation. From jealous rivals and ghostly children to murdered kinsmen and omens of death, these tales reflect the inner lives—the hopes, beliefs, and fears—of a people. Like all folklore, these tales reveal much of the history of the region: its isolation and violence, the passions and bloodshed of the Civil War era, the hardships of miners and railroad laborers, and the lingering vitality of Old World traditions.
Calling is the art of deception. One creates a false, but convincing, illusion. There are many methods of calling. This is old knowledge that is currently being rediscovered by modern science. Whitetails rely on three primary sensory systems for survival-auditory, visual and olfactory. Therefore, they can be tricked on any of these levels. The main objective of any form of calling is to manipulate a deer to approach within comfortable shooting distance. This book offers techniques and tactics for luring in whitetails. It illustrates how to fool all three senses of the whitetail.
Atmospheric, chilling and often witty tales from the storytellers of ancient and modern phantom appearances From the misty air of the highlands, to the reekie streets of Edinburgh's underground city, comes an entertaining selection of classic and mysterious Scottish ghost stories, including ‘The Screaming Skull of Greyfriars’, ‘Mary Burnet’, ‘Wandering Willie’s Tale’ and ‘Glamis Castle’, from the pen of John Buchan, Elliott O’Donnell, Margaret Oliphant, Robert Louis Stevenson, Walter Scott and more. From myth to mystery, the supernatural to horror, fantasy and science fiction FLAME TREE 451 offers tales, myths and epic literature from the beginnings of humankind, through the medieval era to the stories of imagination and dark romance of today.
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
The majority of the really big bucks only come out at night. After surviving three or more hunting seasons, these whitetails have learned that it is only safe to venture forth when the cloak of darkness descends. They are the nocturnal bucks. But, just because you do not see them in the diurnal hours, does not mean that they are not around. In fact, all of us have probably walked past within a stone throw of a bedded or hidden nocturnal buck and not noticed him. There are probably huge nocturnal bucks where you hunt. However, you may not have seen them. Having harvested several nocturnal bucks in the last several years, I would like to share some insightful information with you. This book describes in detail where to find nocturnal bucks and how to kill them during the daylight hours. The revealed strategies and tactics will bring you within bow range of a nocturnal buck in the daytime. I have also included a few detailed accounts of the nocturnal bucks that I have arrowed down.
DigiCat Publishing presents to you this special edition of "The Night-Side of Nature: Ghosts and Ghost-Seers" by Catherine Ann Crowe. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
A Fabulous Fable of the Supernatural Kind The saga of the Morristown ghost has been told around campfires and dinner tables in Morris County for generations. Local legend claimed British Loyalists secretly buried stolen Patriot treasure on Schooley Mountain as they fled the oncoming forces of George Washington during the Revolutionary War. Years later in 1788, a former school teacher from Connecticut, Ransford Rodgers, convinced local prominent Morristown families that a ghost was protecting the true location of the treasure and he alone could exercise it. Little did the victims know, Rodgers was perpetuating an elaborate hoax and eventually extorted large sums of money from the embarrassed local elite. The tale has been recounted in various sensational pamphlets and publications ever since, leaving behind a mystery of what is true or myth. Author Peter Zablocki separates fact from fiction in the story of the great Morristown ghost hoax.
