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"'No, I don't believe in ghosts, but I'm afraid of them,' is muchmore than the cheap paradox it seems to many. To 'believe,' in thatsense, is a conscious act of the intellect, and it is in the warmdarkness of the prenatal fluid far below our conscious reason thatthe faculty dwells with which we apprehend ghosts." Edith Wharton,known for her keen observations of an emotionally stiflingupper-class social world, was so afraid of ghosts that for manyyears she couldn't even sleep in a room with a book containing aghost story. As horror scholar Jack Sullivan writes, "It is thissharply felt sensation of supernatural dread filtered through askeptical sensibility that made Wharton a master of the ghoststory." This collection contains 11 of her elegant, chilling tales,including "Afterword," "The Triumph of Night," and "PomegranateSeed," plus Wharton's 1937 preface and an autobiographicalpost*. --This text refers to an out of print or unavailableedition of this title.
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"'No, I don't believe in ghosts, but I'm afraid of them,' is muchmore than the cheap paradox it seems to many. To 'believe,' in thatsense, is a conscious act of the intellect, and it is in the warmdarkness of the prenatal fluid far below our conscious reason thatthe faculty dwells with which we apprehend ghosts." Edith Wharton,known for her keen observations of an emotionally stiflingupper-class social world, was so afraid of ghosts that for manyyears she couldn't even sleep in a room with a book containing aghost story. As horror scholar Jack Sullivan writes, "It is thissharply felt sensation of supernatural dread filtered through askeptical sensibility that made Wharton a master of the ghoststory." This collection contains 11 of her elegant, chilling tales,including "Afterword," "The Triumph of Night," and "PomegranateSeed," plus Wharton's 1937 preface and an autobiographicalpost*. --This text refers to an out of print or unavailableedition of this title.
Product De*ion