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'An absorbingly creepy travelogue through the corridors, tunnels and basements of our most famous cultural repository. With Noah Angell as our guide, the British Museum becomes a haunted prison filled with imperial plunder and restless spirits clamouring for attention.' - Malcolm Gaskill, author of The Ruin Of All Witches 'Fascinating and illuminating' - Peter Ackroyd 'Brilliantly delicate, pointed, shivery... You could read it as a guide to which galleries to avoid - or to where the push for repatriation should be most urgent.' - Erin L. Thompson, professor of art crime at the City University of New York 'Achieves a near-impossible marriage between paranormal pop-culture, folklore and hauntology' - Roger Clarke, author of A Natural History of Ghosts 'A heady cocktail of history and folklore that leaves a haunting aftertaste... Spine-tingling' - Lindsey Fitzharris, New York Times bestselling author of The Facemaker What if the British Museum isn't a carefully ordered cross section of history but is in instead a palatial trophy cabinet of colonial loot - swarming with volatile and errant spirits? When artist and writer Noah Angell first heard murmurs of ghostly sightings at the British Museum he had to find out more. What started as a trickle soon became a deluge as staff old and new - from overnight security to respected curators - brought him testimonies of their supernatural encounters. It became clear that the source of the disturbances was related to the Museum's contents - unquiet objects, holy plunder, and restless human remains protesting their enforced stay within the colonial collection's cabinets and deep underground vaults. According to those who have worked there, the institution is heaving with profound spectral disorder. Ghosts of the British Museum fuses storytelling, folklore and history, digs deep into our imperial past and unmasks the world's oldest national museum as a site of ongoing conflict, where restless objects are held against their will. It now appears that the objects are fighting back.
'It's enthralling stuff, mixing the scholarly with the accessible and placing storytelling right at the heart of the human experience.' - History Revealed 'A fascinating journey' - Yorkshire Post 'Marvellous...Finkel is an expert in Mesopotamian cultures at the British Museum, and is one of the most clever, and nicest, of people it has ever been my pleasure to encounter...A fascinating journey' - The Scotsman There are few things more in common across cultures than the belief in ghosts. Ghosts inhabit something of the very essence of what it is to be human. Whether we personally 'believe' or not, we are all aware of ghosts and the rich mythologies and rituals surrounding them. They have inspired, fascinated and frightened us for centuries - yet most of us are only familiar with the vengeful apparitions of Shakespeare, or the ghastly spectres haunting the pages of 19th century gothic literature. But their origins are much, much older... The First Ghosts: Most Ancient of Legacies takes us back to the very beginning. A world-renowned authority on cuneiform, the form of writing on clay tablets which dates back to 3400BC, Irving Finkel has embarked upon an ancient ghost hunt, scouring these tablets to unlock the secrets of the Sumerians, Babylonians and Assyrians to breathe new life into the first ghost stories ever written. In The First Ghosts, he uncovers an extraordinarily rich seam of ancient spirit wisdom which has remained hidden for nearly 4000 years, covering practical details of how to live with ghosts, how to get rid of them and bring them back, and how to avoid becoming one, as well as exploring more philosophical questions: what are ghosts, why does the idea of them remain so powerful despite the lack of concrete evidence, and what do they tell us about being human?
Reproduction of the original: Ghost Stories of an Antiquary by M.R. James
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
""...Then she passed on between the dark box-bushes, and, at a point just before the path debouched on the lawn, she stopped once again and considered the quiet evening landscape, and made a mental note that that must be the tower of one of the Roothing churches that one caught on the sky-line. Then a bird (perhaps) rustled in the box-bush on her left, and she turned and started at seeing what at first she took to be a Fifth of November mask peeping out among the branches. She looked closer. It was not a mask. It was a face - large, smooth, and pink. She remembers the minute drops of perspiration which were starting from its forehead: she remembers how the jaws were clean-shaven and the eyes shut. She remembers also, and with an accuracy which makes the thought intolerable to her, how the mouth was open and a single tooth appeared below the upper lip. As she looked the face receded into the darkness of the bush. The shelter of the house was gained and the door shut before she collapsed.""
Author Montague Rhodes James was a medieval scholar by training, and he was interested in the oral storytelling tradition that prevailed before the printed word took hold and gained worldwide popularity. His ghost stories were written to be read aloud in a group setting, but even if you dare to read them all alone, you'll appreciate their subtlety, elegance and slow building of suspense.
Compelling period fiction for 9+ readers from the Waterstones Children's Prize shortlisted Helen Peters. Evie couldn't be angrier with her mother. She's only gone and got married again and has flown off on honeymoon, sending Evie to stay with a godmother she's never even met in an old, creaky house in the middle of nowhere. It is all monumentally unfair. But on the first night, Evie sees a strange, ghostly figure at the window. Spooked, she flees from the room, feeling oddly disembodied as she does so. Out in the corridor, it's 1814 and Evie finds herself dressed as a housemaid. She's certain she's gone back in time for a reason. A terrible injustice needs to be fixed. But there's a housekeeper barking orders, a bad-tempered master to avoid, and the chamber pots won't empty themselves. It's going to take all Evie's cunning to fix things in the past so that nothing will break apart in the future... Absorbing, brilliant storytelling from the author of The Secret Hen House Theatre, The Farm Beneath the Water, Anna at War and The Jasmine Green Series for younger readers.
'Don't be far from me' was a month-long residency and exhibition at Tenderbooks by Glasgow-based artist Sue Tompkins and NYC-based artist and designer Matthew Damhave. The project brought together new works that considered the bookshop as a site, including a performance by Sue Tompkins outside. An artist's book was produced during the exhibition.