“Even if some of the story beats sound familiar, their placement in Wuertz’s Seoul, where hair gleams “like the belly of a giant tuna” and drinks arrive “one after the other like the next turn on the disco ball” even as American GIs tear families apart and agitators are whisked away in black cars, renders them new.
The novel reveals an exciting place and time, in the catalytic sense, and all the more-so for us as visitors who are surrounded by its echoes—class, sex, race—even now.”
“Ghost stories are how we attempt to codify the uncanny and the uncomfortable, the painful and the personal, the romantic and the irredeemably horrible. After all, are not people haunted by lovers and places haunted by tragedies?
By hewing to the facts and using a historian’s loupe, author Colin Dickey seeks to illuminate ghosts’ cultural presence. Ghostland, Dickey’s new book chronicling the sociological history of America’s most haunted places, finds its power not in the numerous phantoms lurking in the country’s shadows, but in the buildings, battlefields, slave prisons and Native American lands that birthed them.”
“An exceptional cover … can bridge the gap between author, idea and reader in a graceful way. As such, a cover is intrinsically linked to its book, but examples with which to inspire bootstrapping author’s abound. Shaykin points to David Pearson’s cover of George Orwell’s Nineteen Eighty-Four for Penguin: Along with Penguin’s classic orange and white, the title and author are rendered in black on black, as if redacted, perfectly encapsulating Orwell’s dystopian novel. Peter Mendelsund’s Ulysses, in sea foam and black surgical scars, similarly evokes the jovial and verbicidal legacy of Joyce’s crucible.”