"From the notorious Lizzie Borden to the innumerable, haunted rooms of Sarah Winchester's mysterious mansion this offbeat, insightful, first-ever book of its kind from the brilliant guides behind 'Boroughs of the Dead,' featured on NPR.org, The New York Times, and Jezebel, explores the history behind America's female ghosts, the stereotypes, myths, and paranormal tales that swirl around them, what their stories reveal about us--and why they haunt us"--

Varla Ventura, Coast to Coast favorite, Weird News blogger on Huffington Post, and author of The Book of the Bizarre and Beyond Bizarre, introduces Weiser Books’ new Collection of forgotten occult classics. Paranormal Parlor is an eerie assemblage of affordable digital editions, curated with Varla’s sixth sense for tales of the weird and unusual. Master of horror Algernon Blackwood brings this chilling tale of a woman, her ghost, and the surprising love between them.

From the notorious Lizzie Borden to the innumerable, haunted rooms of Sarah Winchester's mysterious mansion this offbeat, insightful, first-ever book of its kind explores the history behind America’s female ghosts, the stereotypes, myths, and paranormal tales that swirl around them, what their stories reveal about us—and why they haunt us . . . Sorrowful widows, vengeful jezebels, innocent maidens, wronged lovers, former slaves, even the occasional axe-murderess—America’s female ghosts differ widely in background, class, and circumstance. Yet one thing unites them: their ability to instill fascination and fear, long after their deaths. Here are the full stories behind some of the best-known among them, as well as the lesser-known—though no less powerful . . . Tales whispered in darkness often divulge more about the teller than the subject. America’s most famous female ghosts, from ‘Mrs. Spencer’ who haunted Joan Rivers’ New York apartment to Bridget Bishop, the first person executed during the Salem witchcraft trials, mirror each era’s fears and prejudices. Yet through urban legends and campfire stories, even ghosts like the nameless hard-working women lost in the infamous Triangle Shirtwaist Factory fire —achieve a measure of power and agency in death, in ways unavailable to them as living women. Riveting for skeptics and believers alike, with humor, curiosity, and expertise, A Haunted History of Invisible Women offers a unique lens on the significant role these ghostly legends play both within the spook-seeking corners of our minds and in the consciousness of a nation. Afterword by Bram Stoker Award-winning author Linda D. Addison “An absolute must-buy for the spooky people of the world . . . utterly brilliant.” —Mallory O'Meara, bestselling author of The Lady from the Black Lagoon and Girly Drinks “If this book doesn’t leave with you a sense of wonder and a healthy dose of goosebumps, check your pulse—you may already be among the spirits.” --Marc Hartzman, author of Chasing Ghosts: A Tour of Our Fascination with Spirits and the Supernatural

Nineteenth-century ghost literature by women shows the Gothic becoming more experimental and subversive as its writers abandoned the stereotypical Gothic heroines of the past in order to create more realistic, middle-class characters (both living and dead, male and female) who rage against the limits imposed on them by the natural world. The ghosts of Female Gothic thereby become reflections of the social, sexual, economic and racial troubles of the living. Expanding the parameters of Female Gothic and moving it into the nineteenth and twentieth centuries allows us to recognise women’s ghost literature as a specific strain of the Female Gothic that began not with Ann Radcliffe, but with the Romantic Gothic ballads of women in the first decade of the nineteenth century.

I am going to show you why your pain is invisible to everyone else, and why, in the struggle to be seen, your body became your battlefield. From the outside, your life looks polished. You're talented, successful, strong. Your perfection safeguards you against suffering. Everyone assumes you're fine, and you hide in plain sight. But the truth is that, inside, you feel like a fraud. From childhood, you've been gaslighted by your own gifts. "Good enough" is impossible. But being perfect leaves no space to be human. You suffer in silence. You use your body as a canvas to scream your pain, shrinking in a desperate bid to be visible. This book is my story and the story of women I have worked with. It is the story of how vulnerability will unlock your truth and set you free. Iona Holloway woke up one day and knew she could never go on another diet. She was willing to sacrifice her "perfect body" if it meant she felt whole-not lost, ashamed, and hopeless. She became her own guide on the hard journey of coming home to herself. Haunting, vulnerable, blunt, and stunning, Ghost is a story that reveals why strong women go to war with their bodies. In her debut memoir, Iona Holloway explores lost childhood, identity webs, hot shame, emotional freeze, love, and lineage to tell the story of how to change not just behaviours, but beliefs. How to ask for help. How to let go of perfect. Now is not the time to shrink. This book won't heal you, but it will help you find the heart to heal.

This book explores Victorian and modernist haunted houses in female-authored ghost stories as representations of the architectural uncanny. It reconsiders the gendering of the supernatural in terms of unease, denial, disorientation, confinement and claustrophobia within domestic space. Drawing on spatial theory by Gaston Bachelard, Henri Lefebvre and Elizabeth Grosz, it analyses the reoccupation and appropriation of space by ghosts, women and servants as a means of addressing the opposition between the past and modernity. The chapters consider a range of haunted spaces, including ancestral mansions, ghostly gardens, suburban villas, Italian churches and houses subject to demolition and ruin. The ghost stories are read in the light of women’s non-fictional writing on architecture, travel, interior design, sacred space, technology, the ideal home and the servant problem. Women writers discussed include Elizabeth Gaskell, Margaret Oliphant, Vernon Lee, Edith Wharton, May Sinclair and Elizabeth Bowen. This book will appeal to students and researchers in the ghost story, Female Gothic and Victorian and modernist women’s writing, as well as general readers with an interest in the supernatural.

In this "delightfully uncanny" collection of feminist retellings of traditional Japanese folktales (The New York Times Book Review), humans live side by side with spirits who provide a variety of useful services—from truth-telling to babysitting, from protecting castles to fighting crime. A busybody aunt who disapproves of hair removal; a pair of door-to-door saleswomen hawking portable lanterns; a cheerful lover who visits every night to take a luxurious bath; a silent house-caller who babysits and cleans while a single mother is out working. Where the Wild Ladies Are is populated by these and many other spirited women—who also happen to be ghosts. This is a realm in which jealousy, stubbornness, and other excessive “feminine” passions are not to be feared or suppressed, but rather cultivated; and, chances are, a man named Mr. Tei will notice your talents and recruit you, dead or alive (preferably dead), to join his mysterious company. With Where the Wild Ladies Are, Aoko Matsuda takes the rich, millenia-old tradition of Japanese folktales—shapeshifting wives and foxes, magical trees and wells—and wholly reinvents them, presenting a world in which humans are consoled, guided, challenged, and transformed by the only sometimes visible forces that surround them.