Horace Carpetine does not believe in ghosts. Raised to believe in science and reason, Horace Carpetine passes off spirits as superstition. Then he becomes an apprentice photographer and discovers an eerie—and even dangerous—supernatural power in his very own photographs. When a wealthy lady orders a portrait to place by her daughter's gravesite, Horace's employer, Enoch Middleditch, schemes to sell her more pictures—by convincing her that her daughter's ghost has appeared in the ones he's already taken. It's Horace's job to create images of the girl. Yet Horace somehow captures the girl's spirit along with her likeness. And when the spirit escapes the photographs, Horace discovers he's released a ghost bent on a deadly revenge. . . .

This is a collection of eight ghost stories, written by the remarkably prolific husband and wife team of Claude and Alice Askew, centering on Aylmer Vance, an investigator of the supernatural. Dexter, the narrator, meets Vance during a fishing holiday and Vance tells him three ghost stories on successive nights, each story involving Vance more closely in the action. The fourth story brings Dexter himself into the action, and reveals him to have unsuspected clairvoyant powers. The remaining stories feature Vance and Dexter as a sort of Holmes-and-Watson team investigating incidents not all of which prove to have supernatural causes. The final story, "The Fear" is very effective, describing a house in which a general feeling of extreme fear grips the inhabitants at various times and locations; the emotion of fear is effectively evoked and an interesting tale is constructed as Vance and Dexter work to assign the fear "a local habitation and a name".

There’s just something about Clare. Apart from the ghosts… When her eccentric aunt passes away, no-nonsense accountant Clare Cermak inherits more than just a small fortune. She receives the gift of communicating with ghosts. While Clare may not believe in spirits, it’s hard to overlook the shadowy talking dog appearing on her bed or spectral cowboys tipping their hats to her in the streets of Denver. And when she locks eyes with sexy—and living—Zach Slade, there’s certainly no ignoring him either. A former deputy sheriff, Zach is leaving a painful past behind in Montana for a new life in Denver as a private investigator, a job that has him crossing paths with beautiful Clare. Not that she minds. After the restless ghost of a Wild West gunman demands her assistance, Clare finds herself needing Zach more and more—and not just for help.

This book is a study of the narrative techniques that developed for two very popular forms of fiction in the nineteenth century - ghost stories and detective stories - and the surprising similarities between them in the context of contemporary theories of vision and sight. Srdjan Smajić argues that to understand how writers represented ghost-seers and detectives, the views of contemporary scientists, philosophers, and spiritualists with which these writers engage have to be taken into account: these views raise questions such as whether seeing really is believing, how much of what we 'see' is actually only inferred, and whether there may be other (intuitive or spiritual) ways of seeing that enable us to perceive objects and beings inaccessible to the bodily senses. This book will make a real contribution to the understanding of Victorian science in culture, and of the ways in which literature draws on all kinds of knowledge.

A new translation of Immanuel Kant’s 1766 "Dreams of a Ghost-Seer Explained by Dreams of Metaphysics" in modern American English with the original German in the back. This is Volume III in the Complete Works of Immanuel Kant from Livraria Press. Kant’s 1766 “Träume eines Geistersehers, erläutert durch Träume der Metaphysik” is directed to the charlatan metaphysicians of his day, using Swedenborg's claims of spirit-visions as a central example. It is a cynical, scathing, and mocking criticism of Swedenborgian metaphysics, while simultaneously undermining the faulty Epistemology of Leibniz. Kant addresses “Mr. Schwedenberg” directly analyzes his works methodically. Carl Jung's philosophy is heavily influenced by German Transcendentalism, specifically this work as well, and continued Kant’s work of making the spiritual acceptable within a materialistic metaphysics. Kant and Hegel both articulate that the human psyche does not operate off of Presuppositional Rationalism, but Symbolism. Kant speaks of Archetypes guiding the pneumatic world. He is sketching out a response to the Aristotelian metaphysics of Hume while upholding the Scientific advances of the Enlightenment. He uses Occam’s Razor against Swedenborg, using reason to deconstruct his claims. But at the same time, he pushes back against a pure Newtonian mechanical, deterministic worldview: “For in the relations of cause and effect, of substance and action, philosophy serves at first to resolve the intricate phenomena and to bring such to simpler conceptions.” Schopenhauer wrote a much longer work modeled after this essay titled "Attempt on Spirit-Seeing and what is connected with it"