Melanie never knew of her great grandmother Gabrielle until she inherited all of her estate. She also had no idea of the Ghosts that came with the inheritance. Ghosts come to her in her dreams longing to be on earth again, cursed to roam the estate. Melanie falls in love with Darren a handsome Ghost, but will this love still be true once she learns the truth? Can she save the family name and free the ghosts? Love, lies, secrets and murder plague the land that she now owns.
With the publication of Specters of Marx in 1993, Jacques Derrida redeemed a longstanding pledge to confront Marx's texts directly and in detail. His characteristically bravura presentation provided a provocative re-reading of the classics in the Western tradition and posed a series of challenges to Marxism. In a timely intervention in one of today's most vital theoretical debates, the contributors to Ghostly Demarcations respond to the distinctive program projected by Specters of Marx. The volume features sympathetic meditations on the relationship between Marxism and deconstruction by Fredric Jameson, Werner Hamacher, Antonio Negri, Warren Montag, and Rastko Mcnik, brief polemical reviews by Terry Eagleton and Pierre Macherey, and sustained political critiques by Tom Lewis and Aijaz Ahmad. The volume concludes with Derrida's reply to his critics in which he sharpens his views about the vexed relationship between Marxism and deconstruction.
"Bringing together prominent early contributions from this emergent perspective, the volume traces the origins, theory and methodology of a nascent ghost criminology. From the powers of exorcism and erasure marshaled by state agents, street-level struggles over memorialization and memory, to the lingering violence of crime scenes and the ghostly traces of outlaw artists, Ghost Criminology is a book attuned to that which is well-theorized in other disciplines-the spectral, hauntological, apparitional. Each of the writers assembled here shares, as Mark Fisher (2017) put it, a fascination for the outside, "that which lies beyond standard perception, cognition and experience." As such, this collection uses cutting-edge social and cultural theory to tangle with some of criminology's most stubborn revenants-the politics of criminalization, the commodification of crime and violence, the haunting power of the image, as well as the unheard and disregarded cries of the dead"--
Inheritance often comes with strings attached, but rarely are they as tangled as those hanging over High Hearth. When Eudora Fellowes learns she's the sole heir of her estranged great-aunt's seaside manor, she believes it will be the peaceful escape she's longed for. What awaits, however, is a dark legacy shrouded in half a century of secrets, and it doesn't take long before Eudora realizes she's not the only one to call High Hearth home
Winner of the 2018 Andrés Montoya Poetry Prize, The Inheritance of Haunting, by Heidi Andrea Restrepo Rhodes, is a collection of poems contending with historical memory and its losses and gains carried within the body, wrought through colonization and its generations of violence, war, and survival. The driving forces behind Rhodes’s work include a decolonizing ethos; a queer sensibility that extends beyond sexual and gender identities to include a politics of deviance; errantry; ramshackled bodies; and forms of loving and living that persist in their wild difference. Invoking individual and collective ghosts inherited across diverse geographies, this collection queers the space between past, present, and future. In these poems, haunting is a kind of memory weaving that can bestow a freedom from the attenuations of the so-called American dream, which, according to Rhodes, is a nightmare of assimilation, conquest, and genocide. How love unfolds is also a Big Bang emergence into life—a way to, again and again, cut the future open, open up the opening, undertake it, begin. These poems are written for immigrants, queer and transgender people of color, women, Latin Americans, diasporic communities, and the many impacted by war.
Award-winning psychoanalyst Dr. Galit Atlas draws on her patients' stories—and her own life experiences—to shed light on how generational trauma affects our lives in this "intimate, textured, compassionate" book (Jon Kabat-Zinn, author of The Healing Power of Mindfulness). The people we love and those who raised us live inside us; we experience their emotional pain, we dream their memories, and these things shape our lives in ways we don’t always recognize. Emotional Inheritance is about family secrets that keep us from living to our full potential, create gaps between what we want for ourselves and what we are able to have, and haunt us like ghosts. In this transformative book, Galit Atlas entwines the stories of her patients, her own stories, and decades of research to help us identify the links between our life struggles and the “emotional inheritance” we all carry. For it is only by following the traces those ghosts leave that we can truly change our destiny.
This study examines the complex relations between the figure of the ghost, the textual figure of metaphor and history, in Toni Morrison's Beloved and Gabriel García Márquez's One Hundred Years of Solitude.
She develops the theory of cryptomimesis, a term devised to accommodate the convergence of philosophy, psychoanalysis, and certain "Gothic" stylistic, formal, and thematic patterns and motifs in Derrida's work that give rise to questions regarding writing, reading, and interpretation. Using Edgar Allan Poe's Madeline and Roderick Usher, Bram Stoker's Dracula, and Stephen King's Louis Creed, she illuminates Derrida's concerns with inheritance, revenance, and haunting and reflects on deconstruction as ghost writing. Castricano demonstrates that Derrida's Specters of Marx owes much to the Gothic insistence on the power of haunting and explores how deconstruction can be thought of as the ghost or deferred promise of Marxism. She traces the movement of the "phantom" throughout Derrida's other texts, arguing that such writing provides us with an uneasy model of subjectivity because it suggests that "to be" is to be haunted. Castricano claims that cryptomimesis is the model, method, and theory behind Derrida's insistence that to learn to live we must learn how to talk Awith" ghosts.
