Jonathan Martin Delaware Deseronto is a six-foot-five serial killer with a problem. He’s stuck out on I-476 in a heavy November rainstorm with two flat tires and the dead bodies of a cop and a co-ed named Marissa Madison in his trunk. Desperate to get off the highway, he drives his car on its back rims towards Exit 6. The car stalls on the ramp and Deseronto uses the last of its momentum to plunge over the crest of a steep slope and crash into a length of concrete pipe below. The car comes to rest on the edge of a construction site where machines are positioned to tear down an old Motel 6. For Deseronto, the worst is yet to come. Marissa Madison had been a psychic of sorts while alive, using her ability to assist people in their personal journeys. Now, the ghost of Marissa will utilize her strange gift, trapping Deseronto in the abandoned motel, and forcing him to live the last, fatal week of her own life as a passive passenger in her body . . . Soon, Deseronto will experience something truly horrific: the mind-numbing terror of being stalked by himself.
Ghosts have made an unexpected reappearance in German literature since 1989. Catherine Smale reads this as symptomatic of writers' attempts to renegotiate their personal and collective identity in the wake of German reunification. Focusing on two major authors from the former GDR, Christa Wolf and Irina Liebmann, Smale examines the ways in which their work adopts notions of haunting in its creative engagement with the double legacy of Socialism and National Socialism. The ghost has long been regarded as a vehicle for making manifest taboo or unauthorized memories. However, Smale goes further, demonstrating how the human subject is destabilized by the return of the phantom and is itself rendered insecure and spectral. Drawing on a wide range of theoretical reference, from the psychoanalytic concept of intergenerational phantoms to Derridean hauntology, Smale's study highlights the particular challenge which Wolf and Liebmann pose to the familiar understanding of how German writers have confronted their country's troublesome past.Catherine Smale is Lecturer in German at King's College London.
The Shroud of Turin is a linen cloth bearing the faded image of a man who appears to have undergone physical torture consistent with Roman crucifixion. The Shroud is preserved in the St.John Cathedral in Turin, Italy. It is widely believed to have wrapped the body of historical Jesus of Nazareth and has become one of the most perplexing enigmas for the researchers. The author has attempted to explain the scientific causes of the image on the Shroud under the realm of quantum physics. By drawing a plethora of evidences from the alchemical secrets of resuscitating spectral plants out of ashes, the author establishes that material body of organisms, even if consumed to ashes, retain their selfsame form and figure. Even parts of the body like blood, skin etc., are capable of forming the 3D geometrical structure of the host organism in its entirety, which is a quantum hologram in the modern scientific terminology. According to this theory, the Shroud image is an imprint of the Quantum Self. This is the first book on Shroud of Turin by an Indian author, and proposes for the first time, the quantum bio-holographic idea to explain the Shroud image. It also gives re-birth to the forgotten science of palingenesis - the resurrection of spectral images of plants out of ashes. The author has attempted to explain almost all the peculiar characteristics of the Shroud image like photographic negativity, spatial encryption of 3D data, non-directionality and other amazing aspects.
Offers readable case studies in postmodern economics, philosophy, literary criticism, feminism, pedagogy, poetry, painting, historiography, and cultural studies, showing disorganization as characteristic of postmodern times.
The book ranges widely through frontier myth, American foreign policy, technology, war, film history, psychoanalytic theory (Nicholas Abraham and Maria Torok's cryptonymy), and philosophy (Jacques Derrida and Emmanuel Levinas), as it weaves art analysis into the troubled history of a social artifact. As Blake tells his story purely through images issuing as haunting from the architecture of Winchester house, Spirit Hunter pursues its speculation on the secrets Sarah Winchester shielded through her fabled mansion into the image itself to question whether she was hostage to her haunting or to national myth.
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