A TALE OF A GAS-LIT GHOST, by Anonymous
DOG OR DEMON? by Theo Gift
THE STORY OF MEDHANS LEA, by E. Heron & H. Heron
HOW FEAR DEPARTED FROM THE LONG GALLERY, by E. F. Benson
ON THE BRIGHTON ROAD, by Richard Middleton
THE NEW PASS, by Amelia B. Edwards
THE VIOLET CAR, by E. Nesbit
KENTUCKY'S GHOST, by Elizabeth Stuart Phelps Ward
THE SHIP THAT SAW A GHOST, by Frank Norris
CHRISTMAS EVE ON A HAUNTED HULK, by Frank Cowper
YUKI-ONNA, by Lafcadio Hearn
THE ADVENTURE OF THE GERMAN STUDENT, by Washington Irving
FULLCIRCLE, by John Buchan
THE GHOST IN THE CAP’N BROWN HOUSE, by Harriet Beecher Stowe
THE STRANGER, by Ambrose Bierce
THE SOUTHWEST CHAMBER, by Mary E. Wilkins Freeman
THE READJUSTMENT, by Mary Austin
EVELINE’S VISITANT, by Mary Elizabeth Braddon
SIR EDMUND ORME, by Henry James
THE HAUNTED DRAGOON, by Arthur Thomas Quiller-Couch
THE PICTURE ON THE WALL, by Katharine Tynan
THE BANSHEE'S WARNING, by Charlotte Riddell
THE SERPENT'S HEAD, by Lady Dilke
THE DEAD MAN OF VARLEY GRANGE, by Anonymous
THE SCREAMING SKULL, by F. Marion Crawford
If you enjoy this book, search your favorite ebook store for "Wildside Press Megapack" to see the more than 180 other entries in the series, covering science fiction, modern authors, mysteries, westerns, classics, adventure stories, and much, much more!
The Silent Man, by Henry Fothergill Chorley
The Strange Ormonds, by Leitch Ritchie
The Mysterious Wedding: A Danish Story, by Heinrich Steffans
The Burial by Fire, by Louisa Medina Hamblin
The Vampyre, by Elizabeth Ellet
The Sleepless Woman, by William Jerdan
A Peep At Death, by Peter Von Geist
Killcrop the Changeling, by Richard Thompson
Carl Bluven and the Strange Mariner, by Henry David Inglis
The Prediction, by George Henry Borrow
The Story of the Unfinished Picture, by Charles Hooten
Eule: The Emperor’s Dwarf, by John Rutter Chorley
The Green Huntsman, by Joseph Holt Ingraham
A Revelation of a Previous Life, by Nathaniel Parker Willis
Moods of the Mind: The Old Portrait, by Emma Embury
A Night on the Enchanted Mountain, by Charles Fenno Hoffman
The Living Apparition, by G.P.R. James
The Three Souls, by Alexander Chatrian and Emile Erckmann
The Death Watch, by Luise Muhlback
An Evening of Lucy Ashton’s, by Letitia Elizabeth Landon
The Haunted Homestead, by Henry William Herbert
The Withered Man, by William Leete Stone
La Malroche, by Louisa Stuart Costello
The Three Visits, by Auguste Vitu
Lieutenant Castenac, by Erckman-Chatrian
Torture by Hope, by Villiers de L’isle-Adams
The Black Cupid, by Lafcadio Hearn
The Bundle of Letters, by Moritz Jokai
Nissa, by Albert Delpit
The Dream, by John Galt
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In ten years of serving as a correspondent and selling his writing in such periodicals as the "New Orleans Daily Item," "Times-Democrat," "Harper's Weekly," and "Scribner's Magazine" he crystallized the way Americans view New Orleans and its south Louisiana environs. Hearn was prolific, producing colorful and vivid sketches, vignettes, news articles, essays, translations of French and Spanish literature, book reviews, short stories, and woodblock prints.
He haunted the French Quarter to cover such events as the death of Marie Laveau. His descriptions of the seamy side of New Orleans, tainted with voodoo, debauchery, and mystery made a lasting impression on the nation. Denizens of the Crescent City and devotees who flock there for escapades and pleasures will recognize these original tales of corruption, of decay and benign frivolity, and of endless partying. With his writing, Hearn virtually invented the national image of New Orleans as a kind of alternative reality to the United States as a whole.
S. Frederick Starr, a leading authority on New Orleans and Louisiana culture, edits the volume, adding an introduction that places Hearn in a social, historical, and literary context.
Hearn was sensitive to the unique cultural milieu of New Orleans and Louisiana. During the decade that he spent in New Orleans, Hearn collected songs for the well-known New York music critic Henry Edward Krehbiel and extensively studied Creole French, making valuable and lasting contributions to ethnomusicology and linguistics.
Hearn's writings on Japan are famous and have long been available. But "Inventing New Orleans: Writings of Lafcadio Hearn" brings together a selection of Hearn's nonfiction on New Orleans and Louisiana, creating a previously unavailable sampling. In these pieces Hearn, an Anglo-Greek immigrant who came to America by way of Ireland, is alternately playful, lyrical, and morbid. This gathering also features ten newly discovered sketches. Using his broad stylistic palette, Hearn conjures up a lost New Orleans which later writers such as William Faulkner and Tennessee Williams used to evoke the city as both reality and symbol.
Lafcadio Hearn (1850-1904) was a prolific writer, critic, amateur engraver, and journalist. His many books-on a diverse range of subjects-include "La Cuisine Creole: A Collection of Culinary Recipes" (1885), "Gombo Zhebes" (1885), "Chita" (1889), and "Glimpses of Unfamiliar Japan" (1894).
S. Frederick Starr is chair of the Central Asia-Caucasus Institute at Johns Hopkins University. His previous writings on Louisiana culture include "New Orleans Unmasqued" (1989), "Southern Comfort: The Garden District of New Orleans" (1998), and "Louis Moreau Gottschalk" (2000).
Lafcadio Hearn's classic Japanese ghost stories receive a Manga University makeover in this collection of 17 tales of terror, each lavishly illustrated with ethereal, bone-chilling artwork by Japanese horror specialist Maki Miyamoto.
Compiled and first translated into English more than a century ago, this is the definitive compendium of Japanese tales of the supernatural.
Any one who has ever paid a flying visit to New Orleans probably knows something about those various culinary preparations whose generic name is “Gombo”—compounded of many odds and ends, with the okra-plant, or true gombo for a basis, but also comprising occasionally “losé, zepinard, laitie,” and the other vegetables sold in bunches in the French market. At all events any person who has remained in the city for a season must have become familiar with the nature of “gombo filé,” “gombo févi,” and “gombo aux herbes,” or as our colored cook calls it, “gombo zhèbes”—for she belongs to the older generation of Creole cuisinières, and speaks the patois in its primitive purity, without using a single “r.” Her daughter, who has been to school, would pronounce it gombo zhairbes:—the modern patois is becoming more and more Frenchified, and will soon be altogether forgotten, not only throughout Louisiana, but even in the Antilles. It still, however, retains originality enough to be understood with difficulty by persons thoroughly familiar with French; and even those who know nothing of any language but English, readily recognize it by the peculiarly rapid syllabification and musical intonation. Such English-speaking residents of New Orleans seldom speak of it as “Creole”: they call it gombo, for some mysterious reason which I have never been able to explain satisfactorily. The colored Creoles of the city have themselves begun to use the term to characterize the patois spoken by the survivors of slavery days. Turiault tells us that in the towns of Martinique, where the Creole is gradually changing into French, the Bitacos, or country negroes who still speak the patois nearly pure, are much ridiculed by their municipal brethren:—Ça ou ka palé là, chè, c’est nèg:—Ça pas Créole! (“What you talk is ‘nigger,’ my dear:—that isn’t Creole!”) In like manner a young Creole negro or negress of New Orleans might tell an aged member of his race: “Ça qui to parlé ça pas Créole: ça c’est gombo!” I have sometimes heard the pure and primitive Creole also called “Congo” by colored folks of the new generation.
Included in this volume:
PALLBEARER, by Robert Reed
PANDEMIC, by J. F. Bone
WINGS OF THE BLACK DEATH, by Norvell Page
THE MAN WHO LIVED, by Raymond F. O'Kelley
THE UNPARALLELED INVASION, by Jack London
THE 4TH PLAGUE, by Edgar Wallace
THE GERM GROWERS, by Robert Potter
THE ANIMALS SICK OF THE PLAGUE, by Jean de La Fontaine
THOTH, by Joseph Shield Nicholson
THE MASQUE OF THE RED DEATH, by Edgar Allan Poe
THE GREAT GRAY PLAGUE, by Raymond F. Jones
THE SCARLET PLAGUE, by Jack London
THE PLAGUE IN BERGAMO, by Jens Peter Jacobsen
THE PLAGUE, by Teddy Keller
THE LAST MAN, by Mary Shelley
A LEGEND, by Lafcadio Hearn
THE DUST OF DEATH, by Fred M. White
THE COFFIN CURE, by Alan E. Nourse
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The regular trade in musical insects is of comparatively modern origin. In Tōkyō its beginnings date back only to the Kwansei era (1789-1800),—at which period, however, the capital of the Shōgunate was still called Yedo. A complete history of the business was recently placed in my hands,—a history partly compiled from old documents, and partly from traditions preserved in the families of several noted insect-merchants of the present day.
The founder of the Tōkyō trade was an itinerant foodseller named Chūzō, originally from Echigo, who settled in the Kanda district of the city in the latter part of the eighteenth century. One day, while making his usual rounds, it occurred to him to capture a few of the suzumushi, or bell-insects, then very plentiful in the Negishi quarter, and to try the experiment of feeding them at home. They throve and made music in confinement; and several of Chūzō’s neighbors, charmed by their melodious chirruping, asked to be supplied with suzumushi for a consideration. From this accidental beginning, the demand for suzumushi grew rapidly to such proportions that the foodseller at last decided to give up his former calling and to become an insect-seller.
Chūzō only caught and sold insects: he never imagined that it would be more profitable to breed them. But the fact was presently discovered by one of his customers,—a man named Kirayama, then in the service of the Lord Aoyama Shimodzuké-no-Kami. Kiriyama had bought from Chūzō severalsuzumushi, which were kept and fed in a jar half-filled with moist clay. They died in the cold season; but during the following summer Kiriyama was agreeably surprised to find the jar newly peopled with a number of young ones, evidently born from eggs which the first prisoners had left in the clay. He fed them carefully, and soon had the pleasure, my chronicler says, of hearing them “begin to sing in small voices.” Then he resolved to make some experiments; and, aided by Chūzō, who furnished the males and females, he succeeded in breeding not only suzumushi, but three other kinds of singing-insects also,—kantan, matsumushi, and kutsuwamushi. He discovered, at the same time, that, by keeping his jars in a warm room, the insects could be hatched considerably in advance of the natural season. Chūzō sold for Kiriyama these home-bred singers; and both men found the new undertaking profitable beyond expectation.
The example set by Kiriyama was imitated by a tabiya, or stocking-maker named Yasubei (commonly known as Tabiya Yasubei by reason of his calling), who lived in Kanda-ku. Yasubei likewise made careful study of the habits of singing-insects, with a view to their breeding and nourishment; and he soon found himself able to carry on a small trade in them. Up to that time the insects sold in Yedo would seem to have been kept in jars or boxes: Yasubei conceived the idea of having special cages manufactured for them. A man named Kondō, vassal to the Lord Kamei of Honjō-ku, interested himself in the matter, and made a number of pretty little cages which delighted Yasubei, and secured a large order from him. The new invention found public favor at once; and Kondō soon afterwards established the first manufactory of insect-cages.