This autobiographical novel explores the coming of age of an Amerasian boy in Korea, torn between his mother's world - haunted by the specter of Japanese occupations and ruled by the imperatives of the spirit kingdom - and his father's transplanted America, the local U.S. army base where G.I.s are preparing for combat in another Asian nation, Vietnam. Young Insu grows up in the chaotic streets of Pupyong, among black marketeers, prostitutes, and castoff biracial children. Death comes daily to Pupyong - through cholera, murder, fatal accidents that are either sad or suspicious - and touches Insu's life directly when his beloved aunt commits suicide after being cruelly spurned by her G.I. lover, and his friend James is found drowned in a drain and neighborhood gossips accuse James's mother, whose pursuit of a new blond husband would have been hampered by a half-black son. Although life on the streets is brutal, and the American school Insu attends no better, his Korean family provides him with love and the nourishment of stories and laughter. Like his mother, Insu is attuned to the world of spirits, and he is haunted by the ghost figure of a young boy, a secret half-brother. When Insu learns the true identity of his ghost brother, he also makes a painful discovery about the corrosive prejudices that have torn his family apart.

Childhood encounters with a family ghost left Grant Schnarr with a sense of a reality beyond our world. But it wasn't until he reached adulthood, and survived a terrifying close brush with death, that Grant began to understand that the ghost was still with him—and it had a message.

Sebastian Young must find a way to help his brother Rhys when he breaks his one rule and saves the life of a mortal woman, which leads to a sensual encounter that makes him forget that he is a vampire. Original.

Frances Foggarty, now in her fifties, remembers her childhood.. When she was nine her ten-year-old brother, Tom, was hit by a milk-float and killed. He returns after the funeral and Frances's story is of her new relationship with Tom, the ghost and 'guardian angel'. Frances wears a caliper as a result of polio and she and her young brother live with a rather tyrannical aunt. In this touching tale of loss, hardship and endurance Frances comes to terms with Tom's death and moves on in her life.

Features main character smoking, possessing pills; contains references to sexual harassment and violence.

When Amy E. Wallen's southern, blue-collar, peripatetic family was transferred from Ely, Nevada, to Lagos, Nigeria, she had just turned seven. From Nevada to Nigeria and on to Peru, Bolivia, and Oklahoma, the family wandered the world, living in a state of constant upheaval. When We Were Ghouls follows Wallen's recollections of her family who, like ghosts, came and went and slipped through her fingers, rendering her memories unclear. Were they a family of grave robbers, as her memory of the pillaging of a pre-Incan grave site indicates? Are they, as the author's mother posits, "hideous people?" Or is Wallen's memory out of focus? In this quick-paced and riveting narrative, Wallen exorcizes these haunted memories to clarify the nature of her family and, by extension, her own character. Plumbing the slipperiness of memory and confronting what it means to be a "good" human, When We Were Ghouls links the fear of loss and mortality to childhood ideas of permanence. It is a story about family, surely, but it is also a representation of how a combination of innocence and denial can cause us to neglect our most precious earthly treasures: not just our children but the artifacts of humanity and humanity itself.