Folsom Library Collection Highlights

Death is the one inevitable fact of life. Throughout the centuries, humanity has sought to understand this sobering thought through art and ritual. The theme of memento mori informs medieval Danse Macabre, the Tibetan Book of the Dead, Renaissance paintings of dissected corpses and "anatomical Eves," Gothic literature, funeral effigies, Halloween, and paintings of the Last Judgment. Deceased ancestors are celebrated in the Mexican Day of the Dead, while the ancient Egyptians mummified their dead to secure their afterlife. A volume of unprecedented breadth and sinister beauty, 'Death: A Graveside Companion' examines a staggering range of cultural attitudes toward death.

In a shabby house, on a shabby street, in the new capital of Madrid, Luzia Cotado uses scraps of magic to get through her days of endless toil as a scullion. But when her scheming mistress discovers the lump of a servant cowering in the kitchen is actually hiding a talent for little miracles, she demands Luzia use those gifts to better the family's social position. What begins as simple amusement for the bored nobility takes a perilous turn when Luzia garners the notice of Antonio Pérez, the disgraced secretary to Spain's king. Still reeling from the defeat of his armada, the king is desperate for any advantage in the war against England's heretic queen--and Pérez will stop at nothing to regain the king's favor. Determined to seize this one chance to better her fortunes, Luzia plunges into a world of seers and alchemists, holy men and hucksters, where the lines between magic, science, and fraud are never certain. But as her notoriety grows, so does the danger that her Jewish blood will doom her to the Inquisition's wrath. She will have to use every bit of her wit and will to survive--even if that means enlisting the help of Guillén Santangel, an embittered immortal familiar whose own secrets could prove deadly for them both.

Drawing on an array of sources, from classical history to Hollywood films, Rogers traces Halloween as it emerged from the Celtic festival of Samhain (summer's end), picked up elements of the Christian Hallowtide (All Saints' Day and All Souls' Day), arrived in North America as an Irish and Scottish festival, and evolved into an unofficial but large-scale holiday by the early 20th century. He examines the 1970s and '80s phenomena of Halloween sadism (razor blades in apples) and inner-city violence (arson in Detroit), as well as the immense influence of the horror film genre on the reinvention of Halloween as a terror-fest. Throughout his vivid account, Rogers shows how Halloween remains, at its core, a night of inversion, when social norms are turned upside down and a temporary freedom of expression reigns supreme.

In a culture where the supernatural possessed an immediacy now strange to us, magic was of great importance both in the literary mythic tradition and in ritual practice. In this book, Daniel Ogden presents 300 texts in new translations, along with brief but explicit commentaries. Authors include the well known (Sophocles, Herodotus, Plato, Aristotle, Virgil, Pliny) and the less familiar, and extend across the whole of Graeco-Roman antiquity.

Although serial killers are often thought to be a recent phenomenon, with accounts frequently beginning with Jack the Ripper, Felton aims to demonstrate that serial killers were nearly as common in the ancient world as they are in the modern one, using evidence from Greek and Roman history and folklore. She argues that the evidence from classical antiquity very strongly suggests that the existence of serial killers was recognized thousands of years ago and that, despite popular belief, serial murders are certainly not just a relatively recent development. Mythological monsters as well as human criminals described by ancient authors fit various serial killer profiles down to very specific details. This book investigates these stories and more to shed light on the centuries-old phenomenon of serial killing.

Horror is one of the most enduringly popular genres in cinema. The term "horror film" was coined in 1931 between the premiere of Dracula and the release of Frankenstein, but monsters, ghosts, demons, and supernatural and horrific themes have been popular with American audiences since the emergence of novelty cinematographic attractions in the late 1890s. A Place of Darkness illuminates the prehistory of the horror genre by tracing the way horrific elements and stories were portrayed in films prior to the introduction of the term "horror film." Using a rhetorical approach that examines not only early films but also the promotional materials for them and critical responses to them, Kendall R. Phillips argues that the portrayal of horrific elements was enmeshed in broader social tensions around the emergence of American identity and, in turn, American cinema. He shows how early cinema linked monsters, ghosts, witches, and magicians with Old World superstitions and beliefs, in contrast to an American way of thinking that was pragmatic, reasonable, scientific, and progressive. Throughout the teens and twenties, Phillips finds, supernatural elements were almost always explained away as some hysterical mistake, humorous prank, or nefarious plot. The Great Depression of the 1930s, however, constituted a substantial upheaval in the system of American certainty and opened a space for the reemergence of Old-World gothic within American popular discourse in the form of the horror genre, which has terrified and thrilled fans ever since.

When the opossum feels threatened, she becomes paralyzed. Her body temperature plummets, her breathing and heart rates drop to a minimum, and her glands simulate the smell of a putrefying corpse. Playing Possum explores what the opossum and other creatures can teach us about how we and other species understand mortality, and demonstrates that the concept of death, far from being a uniquely human attribute, is widespread in the animal kingdom.With humor and empathy, Susana Monsó tells the stories of ants who attend their own funerals, chimpanzees who clean the teeth of their dead, dogs who snack on their caregivers, crows who avoid the places where they saw a carcass, elephants obsessed with collecting ivory, and whales who carry their dead for weeks. Monsó, one of today's leading experts on animal cognition and ethics, shows how there are more ways to conceive of mortality than the human way, and challenges the notion that the only emotional reactions to death worthy of our attention are ones that resemble our own.Blending philosophical insight with new evidence from behavioral science and comparative psychology, Playing Possum dispels the anthropocentric biases that cloud our understanding of the natural world, and reveals that, when it comes to death and dying, we are just another animal.

Enthralled by his own exquisite portrait, Dorian Gray exchanges his soul for eternal youth and beauty. Influenced by his friend Lord Henry Wotton, he is drawn into a corrupt double life, indulging his desires in secret while remaining a gentleman in the eyes of polite society. Only his portrait bears the traces of his decadence.

Published to mark the bicentenary of John Polidori's publication of The Vampyre, Nick Groom's detailed new account illuminates the complex history of the iconic creature. The vampire first came to public prominence in the early eighteenth century, when Enlightenment science collided with Eastern European folklore and apparently verified outbreaks of vampirism, capturing the attention of medical researchers, political commentators, social theorists, theologians, and philosophers. Groom accordingly traces the vampire from its role as a monster embodying humankind's fears, to that of an unlikely hero for the marginalized and excluded in the twenty-first century. Drawing on literary and artistic representations, as well as medical, forensic, empirical, and sociopolitical perspectives, this rich and eerie history presents the vampire as a strikingly complex being that has been used to express the traumas and contradictions of the human condition.

Lockwood, the new tenant of Thrushcross Grange, situated on the bleak Yorkshire moors, is forced to seek shelter one night at Wuthering Heights, the home of his landlord. There he discovers the history of the tempestuous events that took place years before. What unfolds is the tale of the intense love between the gypsy foundling Heathcliff and Catherine Earnshaw. Catherine, forced to choose between passionate, tortured Heathcliff and gentle, well-bred Edgar Linton, surrendered to the expectations of her class. As Heathcliff's bitterness and vengeance at his betrayal is visited upon the next generation, their innocent heirs must struggle to escape the legacy of the past.