Interview With The Ghost Of Queen Victoria

Live from the Crypt is an hilarious information series with an undead chat show format where ghostly historical figures are interviewed by the crew of the show about their lives and experiences, featuring quirky illustrations, comic strips and Q&A-style text. In this volume, Queen Victoria shares the headaches and heartaches that attended her long reign as head of the British Empire, including the death of her beloved husband Prince Albert – who makes a special guest appearance!

There have been many books about Queen Victoria but there has never been one that has explored her 'other world' - the world of the strange and unusual, the world of death and her fascination for it, and the world of the unseen and the paranormal that she could never resist. During his research Peter Underwood gained the distinct impression that there was something of a conspiracy of silence around her interest in the paranormal. however, there is overwhelming evidence that as a fatherless and bewildered princess, as a quickly matured queen, and then as a widowed and often lonely woman, Victoria showed a considerable interest in death and its draperies. This book covers Victoria's youthful encounters with the occult; her visits to haunted properties, her friends and acquaintances with similar interests and experiences; her alleged involvement with Robert Lees, the medium; her undoubted interest in the Jack-the-Ripper murders; her obsession with omens and superstitions and her fascination with death. Not long before his death the Prince Consort told the Queen, 'We don't know in what state we shall meet again, but that we shall recognise each other and be together in eternity I am perfectly certain'. Through forty years of widowhood Queen Victoria believed utterly that this would be so.

Spiritualism is often dismissed by literary critics and historians as merely a Victorian fad. Helen Sword demonstrates that it continued to flourish well into the twentieth century and seeks to explain why. Literary modernism, she maintains, is replete with ghosts and spirits. In Ghostwriting Modernism she explores spiritualism's striking persistence and what she calls "the vexed relationship between mediumistic discourse and modernist literary aesthetics."Sword begins with a brief historical review of popular spiritualism's roots in nineteenth-century literary culture. In subsequent chapters, she discusses the forms of mediumship most closely allied with writing, the forms of writing most closely allied with mediumship, and the thematic and aesthetic alliances between popular spiritualism and modernist literature. Finally, she accounts for the recent proliferation of a spiritualist-influenced vocabulary (ghostliness, hauntings, the uncanny) in the works of historians, sociologists, philosophers, and especially literary critics and theorists.Documenting the hitherto unexplored relationship between spiritualism and modern authors (some credulous, some skeptical), Sword offers compelling readings of works by James Joyce, T. S. Eliot, W. B. Yeats, H.D., James Merrill, Sylvia Plath, and Ted Hughes. Even as modernists mock spiritualism's ludicrous lingo and deride its metaphysical excesses, she finds, they are intrigued and attracted by its ontological shiftiness, its blurring of the traditional divide between high culture and low culture, and its self-serving tendency to favor form over content (medium, so to speak, over message). Like modernism itself, Sword asserts, spiritualism embraces rather than eschews paradox, providing an ideological space where conservative beliefs can coexist with radical, even iconoclastic, thought and action.

This addictive YA horror about a group of teen ghost hunters who spend the night in a haunted LA hotel is The Blair Witch Project for the TikTok generation. "Fast-paced and freaky."—Kendare Blake, #1 NYT bestselling author of All These Bodies Enjoy your stay... When the YouTube-famous Ghost Gang—Chrissy, Chase, Emma, and Kiki—visit a haunted LA hotel notorious for tragedy to secretly film after dark, they expect it to be just like their previous paranormal huntings. Spooky enough to attract subscribers—and ultimately harmless. But when they stumble upon something unexpected in the former room of a gruesome serial killer, they quickly realize that they’re in over their heads. Sometimes, it’s the dead who need our help—and the living we should fear.

There have been many books about Queen Victoria but there has never been one that has explored her 'other world' - the world of the strange and unusual, the world of death and her fascination for it, and the world of the unseen and the paranormal that she could never resist.During his research Peter Underwood gained the distinct impression that there was something of a conspiracy of silence around her interest in the paranormal. however, there is overwhelming evidence that as a fatherless and bewildered princess, as a quickly matured queen, and then as a widowed and often lonely woman, Victoria showed a considerable interest in death and its draperies.This book covers Victoria's youthful encounters with the occult; her visits to haunted properties, her friends and acquaintances with similar interests and experiences; her alleged involvement with Robert Lees, the medium; her undoubted interest in the Jack-the-Ripper murders; her obsession with omens and superstitions and her fascination with death.Not long before his death the Prince Consort told the Queen, 'We don't know in what state we shall meet again, but that we shall recognise each other and be together in eternity I am perfectly certain'. Through forty years of widowhood Queen Victoria believed utterly that this would be so.

2050. The global village has disintegrated. The Third World War, ending in a stalemate, has left the planet split between two hostile powers, each with a captive sphere of influence. The Atlantic Ocean has become an American sea. West Africa is a desert of failed states and anarchy, dotted with mines and oil rigs, stockaded and armed by U. S. corporations. From their island outpost of St. Thomas, the Americans dispatch expeditions of geologists and mining engineers into the dangerous interior of the Dark Continent to search for untapped mineral resources. One such expedition has gone missing. Ekem “Crash” Ferguson, born in the U.S. in 2008 of African parents and abandoned to the care of foster parents, is a Captain in the Marine Corps. His career blocked and his marriage failing, he accepts an offer to proceed to Ghana on a one-man mission to find the missing experts. Unknown to his handlers, he has another mission. His arrival in Africa is inauspicious: in a shack amongst the coconut palms he comes across two human skeletons. This is only the first incident in what turns out to be a journey of discovery and self-discovery. “Magnificently crafted political fiction.” Andre Vltchek, author of Aurora and Exposing the Lies of the Empire.

Gender, Crime, and Murder in Victorian England seeks to provide a comprehensive examination of the notorious Mannings' ‘Bermondsey murder’, and its wider implications in Victorian criminal narrative and popular culture. Exploring the ongoing textual afterlife of Maria Manning, including significant literary contributions by Charles Dickens through his characters Mademoiselle Hortense and Madame Defarge, this volume illuminates representations both echoed and challenged in mid-nineteenth-century conceptions of gender, sexuality, class, nationality, religion, and criminality. This volume also examines the five largely forgotten cases of female homicide from the same year and the imagined discourse perpetuated in fictional personifications. Utilising a wide breadth of literary and historical research, this volume provides readers with a thorough understanding of the various cultural implications of crime and gender in the Victorian period to be read, remembered, and reinterpreted today. Located simultaneously in the fields of feminist, historical, and literary criticism, this volume is invaluable to students of nineteenth-century literature and culture, and researchers with an interest in criminology and media culture.