Lily S Ghosts

Strange goings-on at her great Uncle's summer home in Cape May, New Jersey, draw Lily and a new friend into a mystery involving lost treasure, a fake medium, and ghosts of all sizes, shapes and dispositions.

As a doctor in Vietnam, Lily survived unimaginable terror and loss. Now, safely ensconced in a close-knit Maine town and a seemingly comfortable marriage, she no longer needs to be afraid, but she is: afraid of light, afraid of sudden sounds, afraid of seeing the wide-eyed child of war who haunts her. So Lily is unprepared for the act of betrayal that threatens to take away the one thing she cannot live without: her young son. Plunged into a bitter custody battle, befriended by a man with a heartbreaking secret of his own, Lily must fight–to escape her own memories, to survive an uncertain future, and to protect, above all else, the love between a mother and child.

Examines the history and folklore surrounding ghosts and discusses how they are portrayed on television, in films, and in literature.

Things aren’t as they appear at Government House, as Sam and J.J. soon discover on a field trip to the historic building, when they find themselves discussing mushroom growth with George Watt, the gardener of the property at the turn of the 20th century. Just as quickly as they landed in the past, they’re back in the present, mystified as to what happened and how they managed to travel back in time. When the class is assigned a project for the 125th anniversary of Government House, J.J. and Sam use the opportunity to find more information about the gardener, and have a meeting with Alice, one of the former housekeepers. But before they can begin, they’re confronted with a woman that no one else can see, and she attempts to speak to them, silently mouthing the word “watch”. Who is this mysterious woman, and what does her ghost want with Sam and J.J? In order to solve the mystery, the girls must navigate the grounds of Government House – a challenge because Sam and J.J. can’t cross them without winding up in the past. And with only the faintest idea of how to return to the present, their forays into the secrets and history of Government House become dangerous. Can they figure out what the ghost wants before they’re stuck in the past for good?

Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema.

Oldest Ghosts tells of unexplained exploits by the spirits dwelling in St. Augustine, the oldest city of European origin in the United States. Judge John Stickney watches from a tree limb above his cemetery monument. A Colonial-period ghost hangs laundry in a Spanish courtyard. The ghost of Will Green, who died in 1802, routinely enters the bodies of men drinking in a bar. Some residents and visitors tolerate the playful spirits. Others prefer not to acknowledge them. Either way, the ghosts abide.

Examines four discourses by Kierkegaard, arguing that they play a critical and surprising role in his oeuvre and contribute to the philosophy of figural language. How do texts speak with authority? That is the question at the heart of Kierkegaard’s theory and practice of “indirect communication.” None of Kierkegaard’s texts respond to this question more concisely and powerfully than the four discourses he wrote about the lily in the Gospel. The Lily’s Tongue is a nuanced, sustained reading of these Lily Discourses. Kierkegaard takes the lilies as authoritative, rather than merely “figural” or “metaphorical.” This book is a careful exploration of what Kierkegaard means by this authority. Frances Maughan-Brown demonstrates how Kierkegaard argues that the key is in the act of reading itself—no text can have authority unless the reader grants it that authority because no text can entirely avoid figural language. Texts don’t speak directly; their tongue is always the lily’s tongue. What is revealed in the Lily Discourses is a groundbreaking theory of figure, which requires a renewed reading of Kierkegaard’s major pseudonymous works. “Closely analyzing one of the least known yet most exacting series of texts in Kierkegaard’s authorship, his discourses on ‘the lily in the field and the bird of the air,’ Maughan-Brown breaks apart disciplinary barriers between theology, philosophy, aesthetics, and critical theory, while at the same time showing how Kierkegaard’s discourses can quietly illuminate a constellation of ideas drawn from Plato, Kant, Hegel, Benjamin, and Derrida. Following Kierkegaard’s texts to the letter, Maughan-Brown attends to what his texts do as much as to what they say.” — Peter Fenves, author of The Messianic Reduction: Walter Benjamin and the Shape of Time

My name is Marie Cotter and I want you to believe me. Every word of this story is true...' Seventeen-year-old Marie has had a lot to cope with in her young life. But things are getting better, especially when she gets a job working for the widower Dr Slade, looking after his four-year-old daughter, Amy. At first, her new job seems perfect. Marie loves Amy, and Amy seems to like Marie too. Then things start to change. It seems that not everyone is happy with the new arrangement. There appears to be someone else in the house - someone who is determined to come between Amy and Marie...