You. Must. See. This. Movie!!! ⭐️⭐️⭐️⭐️

I don’t care what critics or Rotten Tomatoes says—This is so damn scary I almost lost my shit in the theater!! Run and see The Posession of Hannah Grace! And it was filmed with a $2000 Sony DSLR camera with Hawk 65mm lenses for $10M.

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You Need These!! 3 Volumes of the Greatest Christmas Ghost Stories from the Victorian Era! (TOCs+An Intro+Links)


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Volume 1: Table of Contents

INTRODUCTION by Tara Moore
THE TAPESTRIED CHAMBER by Sir Walter Scott
THE OLD NURSE’S STORY by Elizabeth Gaskell
HORROR: A TRUE TALE by John Berwick Harwood
“BRING ME A LIGHT!” by Anonymous
OLD HOOKER’S GHOST by Anonymous
THE GHOST’S SUMMONS by Ada Buisson
JACK LAYFORD’S FRIEND by Anonymous
HOW PETER PARLEY LAID A GHOST by Anonymous
A MYSTERIOUS VISITOR by Ellen wood
THE HAUNTED ROCK by W. W. Fenn
THE LADY’S WALK by Charlotte Riddell
THE CAPTAIN OF THE “POLE-STAR” by Sir Arthur Conan Doyle
THE DOLL’S GHOST by F. Marion Crawford

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Volume 2: Table of Contents

INTRODUCTION
NOTE ON THE TEXTS
A REAL COUNTRY GHOST STORY by Albert Smith
THE GHOST OF THE TREASURE-CHAMBER by Emily Arnold
NUMBER TWO, MELROSE SQUARE by Theo Gift
THE WEIRD VIOLIN by Anonymous
WALSHAM GRANGE by E. Morant Cox
HAUNTED! by Coulson Kernahan
THE STEEL MIRROR by W. W. Fenn
WHITE SATIN by Anonymous
NICODEMUS by Alfred Cronklin
WOLVERDEN TOWER by Grant Allen
CHRISTMAS EVE IN BEACH HOUSE by Eliza Lynn Linton
THE NECROMANCER; or, GHOST versus GRAMARYE Isabella F. Romer
THE VEILED PORTRAIT by James Grant
THE GHOST CHAMBER by Anonymous
A TERRIBLE RETRIBUTION; or, SQUIRE ORTON’S GHOST by “A. S.”

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Volume 3: Table of Contents

INTRODUCTION
NOTE ON THE TEXT
THE GHOST OF THE CROSS-ROADS by Frederick Manley
19, GREAT HANOVER STREET by Lillie Harris
SIR HUGO’S PRAYER by G. B. Burgin
WALNUT-TREE HOUSE by Mrs. J. H. Riddell
HAUNTED ASHCHURCH by Anonymous
THE HAUNTED TREE by Anonymous
A DEAD MAN’S FACE by Hugh Conway
THE GHOST’S “DOUBLE” by L. F. Austin
THE HAUNTED MANOR by E. H. Renton
THE NAMELESS VILLAGE by J. E. Thomas
OLD SIMONS’ GHOST! by Anonymous
MIRIAM’S GHOST by J. W. Hollingsworth
THE VICAR’S GHOST by Lucy Farmer
THE GHOST OF THE HOLLOW FIELD by Mrs. Henry Wood
THE WICKED EDITOR’S CHRISTMAS DREAM by Alice Mary Vince
THE BARBER’S GHOST by Anonymous
A SPIRIT BRIDE by Andrew Haggard
THE HAUNTED OVEN by W. L. Blackley
THE DEVIL’S OWN by Lilian Quiller Couch
A CHRISTMAS GHOST STORY by Anonymous

The Links!

Ghosts of Christmas Past—An Anthology of Old & New Ghost Stories, ed. by Tim Martin, 2017 (TOC+Intro+Link)

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Table of Contents

Title Page
Copyright
Introduction by Tim Martin
M. R. JAMES The Story of a Disappearance and an Appearance
JENN ASHWORTH Dinner for One
E. NESBIT The Shadow
LOUIS DE BERNIÈRES This Beautiful House
MURIEL SPARK The Leaf-Sweeper
FRANK COWPER Christmas Eve on a Haunted Hulk
E. F. BENSON The Step
BERNARD CAPES The Vanishing House
L. P. HARTLEY Someone in the Lift
ROBERT AICKMAN The Visiting Star
NEIL GAIMAN Nicholas Was
JEROME K. JEROME The Ghost of the Blue Chamber
KELLY LINK The Lady and the Fox
Acknowledgements


Introduction

We may think of ghost stories as a Victorian tradition, but the habit of telling spooky tales at the end of the year goes back a long way. Centuries before Dickens and his contemporaries began writing for a mass market fascinated by spiritualism and the occult, workers and families were gathering in the long nights to work, talk and swap tall stories of magic and horror. In 1725 the Newcastle historian Henry Bourne noted that ‘nothing is commoner in country places than for a whole family in a winter’s evening, to sit round the fire, and tell stories of apparitions and ghosts’. Even further back in time is Shakespeare’s character Mamilius, who observes that ‘a sad tale’s best for winter: I have one/ Of sprites and goblins’. In the trough of the seasons, where the days wither and the nights stretch out, our old nocturnal anxieties start to prickle again –and there has always been a delicious Schadenfreude about the ghost story, with its implicit contrast between Them Out There (hag-ridden, bedevilled, plagued by horrors) and Us In Here by the fire with our friends.

Despite the title, this isn’t entirely a book of Christmas ghost stories. The spooky tale set at Christmas, as opposed to told at Christmas, turns out to be less common than one might think –and one stricture feels like enough for a collection. Accordingly, and because misrule is another Christmas tradition, the wandering spirits that throng this collection haven’t had their IDs checked very carefully. Some are ghosts of Christmas past. Others are half-glimpsed Christmas monsters, horrifying Christmas presentiments, amorphous pools of Christmas malevolence, Christmas drunken hallucinations and, in one case, what may well be a Christmas demon. All, however, confine their haunting, chasing, shambling or manifesting to the festive season.

Ghost stories, appropriately, are a moonlighter’s profession: even the big names rarely build entire careers on them. M. R. James, whose Christmas chiller The Story of a Disappearance and an Appearance is one of his most frightening pieces, was a medieval historian, director of the Fitzwilliam and translator of the Apocrypha who wrote (and read) his ghost stories to make friends shiver by candlelight. Edith Nesbit, who appears here with the elusive and terrifying The Shadow, fitted hers in between bestselling children’s novels (The Railway Children, The Phoenix and the Carpet) and running the Fabian Society. Writers as austere and waspish as Muriel Spark jostle in these pages with those as foppish and jolly as Jerome K. Jerome; in her bewilderingly calm ghost story The Leaf-Sweeper the ghost is still alive, in his Christmas entertainment (The Ghost of the Blue Chamber) the phantom likes to tempt boozers and strangle carol-singers. Like many such collections, this one is a strange come-all-ye of authors, like a hobbyist’s convention or the cast list for an Agatha Christie mystery.

‘You must have noticed,’ runs a line in Nesbit’s The Shadow, ‘that all the real ghost stories you have ever come close to, are like this … no explanation, no logical coherence’. Literary ghost stories, however, tend to split into two camps: the haunting and the horrifying. Robert Aickman’s The Visiting Star, like all this inimitably peculiar writer’s work, is more Tales of the Cryptic than Tales from the Crypt as it weaves its theatrical Christmas nightmare out of stifled comedy, semi-obscure mythical allusions (Iblis and Myrrha, among others, are worth scurrying to the encyclopaedia for) and moments of heart-stopping dread. In The Vanishing House, by the forgotten Victorian writer Bernard Capes, a bunch of travelling musicians encounter a winter horror in a brief dialect story that starts out as broad and boozy comedy and ends up feeling like a lost fragment of folktale. The yachtsman Frank Cowper’s Christmas Eve on a Haunted Hulk, a story disconcertingly cast in the documentary tone of real experience, is choked with ambient dread –few ghost stories manage to make sound so terrifying –but similarly light on explanation and dramatic form.

Other stories train their sights on emotions more complex than terror. Jenn Ashworth’s clever, despairing Dinner for One, not the only story in this volume to be narrated by the ghost, casts its central haunting as a ghastly co-dependent relationship or a form of domestic abuse. Louis de Bernières’s My Beautiful House is an oddity: a supernatural story, told with an admirable lightness of touch, that turns out to be more interested in heart-tugging melancholy than in bald horror. Kelly Link’s rather wondrous The Lady and the Fox, meanwhile, mixes timeworn notions of Christmas ghostery with a crackling contemporary tone and a fantasy story as old (and everlastingly youthful) as Tam Lin himself.

Not all the revenants here are quite so subtle. Neil Gaiman’s Nicholas Was, written for a Christmas card, is a 100-word exercise in jet-black comedy, describing a seasonal favourite who is less St Nicholas than Old Nick. Someone in the Lift by L. P. Hartley (famous for The Go-Between, but a dedicated producer producer of supernatural stories as well) is a Twilight Zone-style shocker whose nastiness is almost too blatant –that dot-dot-dot ending!–but manages a genuinely unsettling tone of supernatural foreshadowing in the first part. Written with dreadful relish, E. F. Benson’s The Step may be the least subtle of the stories in this collection: it’s a tale that demands to be read aloud, with the kind of climactic ‘boo’ that should send listeners howling into the festive night.

And what a long night it is, out there beyond the warm rooms and the firelight. Don’t worry about the noises. Ignore the moving shapes. It’s time to step out. Turn the page. Oh, and happy Christmas. If you come back.

Link

The Red Lodge—A Ghost Story for Christmas by H. Russell Wakefield (Info+Link)

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Reading a ghost story on Christmas eve was once as much a part of traditional Christmas celebrations as turkey, eggnog, and Santa Claus.

The “Red Lodge” is a magnificent Queen Anne house, the ideal rental for a young family on a much-needed holiday. But something is wrong at the Red Lodge. What caused the drownings of so many previous occupants? What dark presence lurks in the river? Why has the son grown sullen and afraid?

About the Author

HR Wakefield (1888 – 1964) was an English author and editor, considered one of the greatest ghost story writers of all time.

Read more, here…

https://en.m.wikipedia.org/wiki/H._Russell_Wakefield


Praise for “Seth’s” Christmas Ghost Stories Series…

“[This] series of Christmas ghost stories, miniature books chosen and illustrated by the cartoonist Seth … [offers] chills―and charm.”

―John Williams, New York Times Book Review

“I just bought my set of these and they … are … PERFECT. I hope they do these every year.”

―Patton Oswalt

“These are beautiful little books … [My family’s] been reading them at home, and we’ve actually put them away so we can re-read them on Christmas Eve.”

―Matt Galloway, CBC’s Metro Morning

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Art by Seth.


“For Seth, this is really a labour of love.”

―Peter Robb, Ottawa Citizen

“The two classic Christmas ghost stories that Seth and Biblioasis fashioned last year were a huge success for us. Nifty packaging, striking design―so Seth.”

―Ben McNally, Ben McNally Books, Toronto, ON

“Seth’s Christmas Ghost Stories series resurrects the legacy of fireside tales at Christmas with these beautifully illustrated editions.”

―John Toews, McNally Robinson Booksellers, Winnipeg, MB

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Illustration for Dicken’s ghost story “The Signalman” by Seth.


About the Artist

5E15B7DA-A881-457D-9CB9-D9B761554905“Seth” is the pen name of Gregory Gallant (born September 16, 1962), a Canadian cartoonist best known for his series Palookaville and his mock-autobiographical graphic novel It’s a Good Life, If You Don’t Weaken (1996).

Read more, here…

https://en.m.wikipedia.org/wiki/Seth_(cartoonist)

Get the Books

http://biblioasis.com/product-category/fiction/seths-christmas-ghost-stories/

“It’s Not Easy Being Green”—Kermit & Ray Charles Guest Star on the Cher show, 1975

A Homosexual, a Pioneer, a Human rights Activist, & a Fiery Freedom Fighter—Hung by the Crown for Treason: Meet Sir Robert Casement

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Untold story of one of the most horrifying crimes of the twentieth century.

In September 1910, the human rights activist and anti-imperialist Roger Casement arrived in the Amazon to investigate reports of widespread human rights abuses in the vast forests stretching along the Putumayo river. There, the Peruvian entrepreneur Julio César Arana ran an area the size of Belgium as his own private fiefdom; his British registered company operated a systematic programme of torture, exploitation and murder.

Fresh from documenting the scarcely imaginable atrocities perpetrated by King Leopold in the Congo, Casement was confronted with an all too recognisable scenario. He uncovered an appalling catalogue of abuse: nearly 30,000 Indians had died to produce four thousand tonnes of rubber.

From the Peruvian rainforests to the City of London, Jordan Goodman, in The Devil and Mr. Casement, recounts a crime against humanity that history has almost forgotten, but whose exposure in 1912 sent shockwaves around the world. Drawing on a wealth of original research, The Devil and Mr Casement is a story of colonial exploitation and corporate greed with enormous contemporary political resonance.

Reviews

“Meticulously researched … A riveting, if harrowing, narrative which, in its treatment of corporate greed and exploitation, is full of contemporary resonance. A rich, moving, important book.” – Independent on Sunday

Above, clockwise: Casement in his 50s, he would be executed shortly; walking out of court after his appeal had been denied; Casement’s funeral in Ireland.

The New Yorker:

In 1910, the British government asked Roger Casement, a consular official, to investigate reports that a British-registered rubber-trading company was exploiting Barbadian workers in the Amazon. Intrepid and resourceful, Casement gathered testimonies about the armed extortion and debt bondage that supported the rubber trade. Back in London, he championed the rights of the Barbadian migrants as well as those of the indigenous Indians, tens of thousands of whom had died harvesting wild rubber for their masters. Casement was knighted for his efforts. But the adulation did not last. An Irish nationalist, he eventually left the consular services and devoted himself to organizing and arming the Irish Volunteers. In 1916, he was arrested and hanged for treason. With vivid touches of imagination and humor, Goodman captures the drama and paradox of Casement’s varied life. ♦

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In 1910, the British government asked Roger Casement, a consular official, to investigate reports that a British-registered rubber-trading company was exploiting Barbadian workers in the Amazon. Intrepid and resourceful, Casement gathered testimonies about the armed extortion and debt bondage that supported the rubber trade. Back in London, he championed the rights of the Barbadian migrants as well as those of the indigenous Indians, tens of thousands of whom had died harvesting wild rubber for their masters. Casement was knighted for his efforts. But the adulation did not last. An Irish nationalist, he eventually left the consular services and devoted himself to organizing and arming the Irish Volunteers. In 1916, he was arrested and hanged for treason. With vivid touches of imagination and humor, Goodman captures the drama and paradox of Casement’s varied life. ♦

Further Reading

https://www.firstworldwar.com/bio/casement.htm

http://www.easter1916.ie/index.php/people/a-z/roger-casement/

https://www.planetromeo.com/en/blog/gay-history-sir-roger-casement/

https://www.rte.ie/centuryireland/index.php/articles/the-life-and-death-of-roger-casement

https://www.theguardian.com/books/2016/sep/28/roger-casement-gay-irish-martyr-or-victim-of-a-british-forgery

https://www.irishcentral.com/roots/history/roger-casement-easter-rising-executed

https://www.lrb.co.uk/v34/n17/colm-toibin/a-man-of-no-mind

https://www.firstthings.com/blogs/firstthoughts/2011/11/roger-casement-the-gay-irish-humanitarian-who-was-hanged-on-a-comma

Click thumbnails to enlarge images:

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Link to The Devil and Mr. Casement

Gay or Mentally Ill? A Tragic Story of Canada’s finest symbolist poet…

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French-Canadian Poet Émile Nelligan (1879-1941), shown here at about age 20, was a francophone poet from Quebec. Highly influenced by the symbolist poetry of Paul Verlaine, Charles Baudelaire, Edgar Allan Poe and others, Nelligan was a precocious talent and published his first poems in Montreal at age 16. He supposedly suffered a major psychotic breakdown in 1899 and never finished his first book of poetry, which according to his notes, was to be named The Recital of Angels. His Collected Poems were published in 1903, and his reputation has only grown in the years since. He is now considered a Quebecois literary icon.


Above: Nelligan as a youth and at age 41 after 20 years in the asylum.

Christ on the Cross

I’d always gaze into this plaster Jesus
pitched like a pardon at the old abbey-door—
a black-gestured solemn scaffold
with saintly idolatry I’d bow before.

Now as I sat around at the hour of cricket’s play,
in funereal fields, blue-viewedly musing
one near-past night with wind-blown hair, reciting
Eloa, in that swelled esthetic ephebic way,

I noticed near the debris of a wall
the heavy old cross heaped up tall
and crumbled plaster among primroses

and I froze, doleful, with pensive eyes,
and heard spasmodic hammers strike, in me,
the black spikes of my own Calvary.

(Trans. by Marc di Saverio)


Above, left: A bust of Nelligan as an adolescent by Roseline Granet (2005); Carré Saint-Louis, Montréal. Above, right: A monument to Nelligan in Québec by Gregory Pototsky (2004).

Soir d’Hiver

Ah ! comme la neige a neigé !
Ma vitre est un jardin de givre.
Ah ! comme la neige a neigé !
Qu’est-ce que le spasme de vivre
À la douleur que j’ai, que j’ai.

Tous les étangs gisent gelés,
Mon âme est noire ! où-vis-je ? où vais-je ?
Tous ses espoirs gisent gelés:
Je suis la nouvelle Norvège
D’où les blonds ciels s’en sont allés.

Pleurez, oiseaux de février,
Au sinistre frisson des choses,
Pleurez, oiseaux de février,
Pleurez mes pleurs, pleurez mes roses,
Aux branches du genévrier.

Ah ! comme la neige a neigé !
Ma vitre est un jardin de givre.
Ah ! comme la neige a neigé !
Qu’est-ce que le spasme de vivre
À tout l’ennui que j’ai, que j’ai !…


About the Poet

https://en.m.wikipedia.org/wiki/Émile_Nelligan

Voir aussi:

https://fr.m.wikipedia.org/wiki/Émile_Nelligan

Émile Nelligan was a talented and poet, born in Quebec in 1879. His first poems, heavily influenced by the work of Charles Baudelaire and Edgar Allan Poe, were published in Montreal when he was only 16.

By age 20, in 1899, Nelligan began exhibiting strange behavior. He would spend nights sleeping in chapels and yelling out poetry to passing strangers on the street. He became plagued by hallucinations and attempted suicide. It is said that he was diagnosed with schizophrenia and committed to a psychiatric hospital by his parents.

Some biographers claim that Nelligan was likely gay   and may have become mentally ill due to inner conflict between his religious upbringing and his homosexuality. Others have suggested that he was not mentally ill but was committed by his parents because of homosexuality.

Once hospitalized, Nelligan stopped writing poetry. However, in 1903 his collected poems were published to great acclaim in Canada. When he died in 1941, it is believed that he was completely unaware that he was counted as one of French Canada’s greatest poets.