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Digging up the eerie aftermath of America’s deadliest disasters—where ghost stories take root, history lingers in the shadows, and the past refuses to stay buried.

In this haunting follow-up to Some Nightmares Are Real: The Haunting Truth Behind Alabama’s Supernatural Tales, journalist and storyteller Kelly Kazek investigates supernatural folklore grounded in historical catastrophe. This time, she ventures far beyond Alabama, unearthing the eerie legends born from their aftermath of nine of America’s most infamous disasters. From the strangling suffocation of the Boston Molasses Flood and the terror of Galveston’s notorious Great Storm, to flames blasting from the Triangle Shirtwaist Factory disaster, Some Nightmares Are True examines ghost stories that have haunted communities long after the news headlines stopped.

Each spooky story blends vivid storytelling with meticulous research, connecting real events to the ghostly lore they inspired. Kazek explores not just the moment of disaster, but how grief, resilience, and remembrance shape the way stories live on—through newspaper archives, folklore, and generations of retelling.

With both wry Southern sensibility and journalistic rigor, Kazek explores how moments of tragedy like the Dixie Tornado Outbreak in Alabama, the capsizing of the SS Eastland in Chicago, and the haunting aftermath of the Schoolchildren’s Blizzard in Nebraska leave lasting imprints on generational memory. These sites of devastation become more than historical footnotes; they transform into hallowed grounds where grief lingers, legends remain, and the line between fact and folklore dissolves.

For ghost hunters, or simply those brave enough to follow their curiosity into learning more about the stories’ historical facts, Kazek has compiled a robust appendix that provides context, source materials, and location details, making this a perfect pick to toss in the car for that late-night road trip adventure. But remember, Some Nightmares Are True.

Sound Authorities shows how experiences of music and sound played a crucial role in nineteenth-century scientific inquiry in Britain.

In Sound Authorities, Edward J. Gillin focuses on hearing and aurality in Victorian Britain, claiming that the development of the natural sciences in this era cannot be understood without attending to the study of sound and music.

During this time, scientific practitioners attempted to fashion themselves as authorities on sonorous phenomena, coming into conflict with traditional musical elites as well as religious bodies. Gillin pays attention to sound in both musical and nonmusical contexts, specifically the cacophony of British industrialization. Sound Authorities begins with the place of acoustics in early nineteenth-century London, examining scientific exhibitions, lectures, spectacles, workshops, laboratories, and showrooms. He goes on to explore how mathematicians mobilized sound in their understanding of natural laws and their vision of a harmonious ordered universe. In closing, Gillin delves into the era’s religious and metaphysical debates over the place of music (and humanity) in nature, the relationship between music and the divine, and the tensions between spiritualist understandings of sound and scientific ones.

In the nineteenth century, long before film and television arrived to electrify audiences with explosions, car chases, and narrow escapes, it was America's theaters that offered audiences such thrills, with "sensation scenes" of speeding trains, burning buildings, and endangered bodies, often in melodramas extolling the virtues of temperance, abolition, and women's suffrage. In Spectacles of Reform , Amy E. Hughes scrutinizes these peculiar intersections of spectacle and reform, revealing that spectacle plays a crucial role in American activism. By examining how theater producers and political groups harnessed its power and appeal, Hughes suggests that spectacle was—and remains—central to the dramaturgy of reform.

Engaging evidence from lithographs to children's books to typography catalogs, Hughes traces the cultural history of three famous sensation scenes—the drunkard suffering from the delirium tremens, the fugitive slave escaping over a river, and the victim tied to the railroad tracks—assessing how they conveyed, allayed, and denied concerns about the rights and responsibilities of citizenship. These images also appeared in printed propaganda, suggesting that the coup de théâtre was an essential part of American reform culture. Additionally, Hughes argues that today's producers and advertisers continue to exploit the affective dynamism of spectacle, reaching an even broader audience through film, television, and the Internet.

To be attuned to the dynamics of spectacle, Hughes argues, is to understand how we see. Consequently, Spectacles of Reform will interest not only theater historians, but also scholars and students of political, literary, and visual culture who are curious about how U.S. citizens saw themselves and their world during a pivotal period in American history.

Louis Jacques Mandé Daguerre (1787–1851) was a true nineteenth-century visionary—a painter, printmaker, set designer, entrepreneur, inventor, and pioneer of photography. Though he was widely celebrated beyond his own lifetime for his invention of the daguerreotype, it was his origins as a theatrical designer and purveyor of visual entertainment that paved the way for Daguerre’s emergence as one of the world’s most iconic imagemakers.

In Speculating Daguerre, Stephen C. Pinson reinterprets the story of the man and his time, painting a vivid picture of Daguerre as an innovative artist and savvy impresario whose eventual fame as a photographer eclipsed everything that had come before. Drawing upon previously unpublished correspondence and unplumbed archival sources, Pinson mixes biography with an incisive study of Daguerre’s wide-ranging involvement in visual culture. From his work as a commercial lithographer to his coinvention of the Paris Diorama—a theater in the round in which Daguerre employed natural light and special effects to simulate time and movement in large-scale paintings—here we are given access to Daguerre the artist, whose tireless experimentation, entrepreneurial spirit, and exceptional talent for popular spectacle helped to usher in a new visual age.

Filled with more than one hundred illustrations and including the first complete catalogue of Daguerre’s paintings, works on paper, and daguerreotypes to appear in print, the publication of Speculating Daguerre will be a much-heralded event for anyone with even a passing interest in one of the most fascinating characters in the history of photography.

Speculation: Politics, Ideology, Event develops Hegel’s radical perspective of speculative thought as a way of reclaiming and revitalizing the sense of the future and its possibilities. Engaging with such figures as Alain Badiou, Quentin Meillassoux, Ernesto Laclau, Slavoj Žižek, and Fredric Jameson, Glyn Daly articulates the distinctness of speculative philosophy and draws its implications for new debates in areas of science, politics, capitalism, ideology, ethics, and the event. 

In a confrontation with today’s fatalistic milieu, principal emphasis is given to Hegel’s idea of infinity as the intrinsic dimension of negativity within all finitude. Against the modern era’s paradigmatic tendency to externalize social problems in the form of antagonism and Otherness, Daly argues for a renewal of utopian thought based on Hegelian reconciliation and the affirmation of excess as the essence of all being. On these grounds, he advances a new kind of political imagination that in speculative terms centers on uncompromising notions of truth and reason. 
 

The cultural phenomenon of exhibiting non-European people in front of the European audiences in the 19th and 20th century was concentrated in the metropolises in the western part of the continent. Nevertheless, traveling ethnic troupes and temporary exhibitions of non-European humans took place also in territories located to the east of the Oder river and Austria. The contributors to this edited volume present practices of ethnographic shows in Russia, Poland, Czechia, Slovenia, Hungary, Germany, Romania, and Austria and discuss the reactions of local audiences. The essays offer critical arguments to rethink narratives of cultural encounters in the context of ethnic shows. By demonstrating the many ways in which the western models and customs were reshaped, developed, and contested in Central and Eastern European contexts, the authors argue that the dominant way of characterizing these performances as “human zoos” is too narrow.

The contributors had to tackle the difficult task of finding traces other than faint copies of official press releases by the tour organizers. The original source material was drawn from local archives, museums, and newspapers of the discussed period. A unique feature of the volume is the rich amount of images that complement every single case study of ethnic shows.

An innovative study of the history of standardization that draws on both technical documents and novels.

Jonathan H. Grossman’s elegant analysis of standardization approaches the topic by exploring how institutions create standards. Grossman tracks how published standards documents became the dominant means of homogenizing durable objects during the nineteenth century’s industrialization of manufacturing, including printing. Examining these documents as a genre, he reconstructs the nineteenth-century history of published standards documents and shows how they evolved to produce uniformity across manufactured objects.

Shifting focus from the standardized creation of objects to their use by subjects, Grossman then probes how people reimagined, through print, the ways in which their subjectivity combined with identical, interchangeable manufactured objects. To understand that relation, he looks to nineteenth-century novels by Charles Dickens, Mark Twain, and Elizabeth Gaskell, revealing how these books depicted the interchangeability of the subjects implied by this production of identical objects. The novels do not merely observe the interplay between subjects and standardized objects; they materialize it in the assemblage of readers holding their industrially manufactured, print copy.