Victorian Ghost Quotes

I myself am not afraid of ghosts; I am afraid of people.

Some ghosts are so quiet you would hardly know they were there.

Oh, man," said Jack. "Everyone was nice to us when we looked rich. Now it feels like the whole world's against us.

Gossamer strands of memory flutter over her face and eyes in their furious journey back into the almost-forgotten past.  Smells, feelings, images, and body sensations all coalesce into a mural of previous connections with this place.

Pain as old as time itself, threaded with memories of heartache old and new, are translated into wails of anguish, the sonnet of her life.

In Victorian London they used to burn phosphorus at seances in an attempt to see ghosts, and I suspect that the pop-music equivalent is our obsession with B-sides and alternate versions and unreleased material.

Shoulder to shoulder they sit quietly, gazing into the infinity of soul remembrance – an invisible net of breath and devotion generated by the lofty gesture of hundreds of trees arching their way to the sun.  “Eternity gives birth to her most recent legends here, you know,” Grandfather whispers.

We are ghosts in Victorian gowns, lilac apparitions with parasols…

Between the lights and the ever-present blue ghosts of the Columbian Guard, the fair achieved another milestone: For the first time Chicagoans could stroll at night in perfect safety. This alone began to draw an increased number of visitors, especially young couples locked in the rictus of Victorian courtship and needful of quiet dark places.

It was getting dark by the time I went out, and nobody who knows the country will need to be told how black is the darkness of a November night under high laurel bushes and yew-trees. I walked into the heart of the shrubberies two or three times, not seeing a step before me, till I came out upon the broader carriage-road, where the trees opened a little, and there was a faint grey glimmer of sky visible, under which the great limes and elms stood darkling like ghosts; but it grew black again as I approached the corner where the ruins lay. ("The Open Door")

They were savages, yet they were ghosts. The two most terrible and dreaded foes of civilised experience seemed combined at once in them.

The Victorians, for instance, couldn’t get five minutes’ peace without falling over a ghost. So what has changed? Have all the spectres left town?

They were not hacks, working surreptitiously for Victorian special-interest groups. They were not blinded by politics or personal ambition. They were blinded, instead, by an idea.

The first of these houses appeared to be occupied. The next two were vacant. Dingy curtains, soot-grey against their snowy window-sills, hung over the next. A litter of paper and refuse-abandoned by the last long gust of wind that must have come whistling round the nearer angle of the house - lay under the broken flight of steps up to a mid-Victorian porch. The small snow clinging to the bricks and to the worn and weathered cement of the wall only added to its gaunt lifelessness. ("Bad Company

To revive the Victorian ghost, invite it in on its own terms. Wait for dark. Dim the lights. If you can arrange a draft to waft through the room, all the better. Meeting the ghosts of Christmas does not limit you to Dickens’s edifying spirits; instead, prepare yourself for a sensual experience of midwinter leisure and Victorian story-telling tradition.

Everyone has demons, Ivy. I guess you were unlucky enough to see yours.

Sometimes a lie is nothing but a delicate veil masking the ugliness of the truth – they do not last for long.

She gritted her teeth. The man dances like a clod. I’d rather dance with Mr Jenkins, who can barely move.

The Victorian era in England began when Queen Victoria came to the throne in 1837. She ruled for the rest of the century and helped her country become a powerful world empire.

They don't take the Bible as a general thing, sailors don't; though I will say that I never saw the man at sea who didn't give it the credit of being an uncommon good yarn. ("Kentucky's Ghost")

The world of shadows and superstition that was Victorian England, so well depicted in this 1871 tale, was unique. While the foundations of so much of our present knowledge of subjects like medicine, public health, electricity, chemistry and agriculture, were being, if not laid, at least mapped out, people could still believe in the existence of devils and demons. And why not? A good ghost story is pure entertainment. It was not until well into the twentieth century that ghost stories began to have a deeper significance and to become allegorical; in fact, to lose their charm. No mental effort is required to read 'The Weird Woman', no seeking for hidden meanings; there are no complexities of plot, no allegory on the state of the world. And so it should be. At what other point in literary history could a man, standing over the body of his fiancee, say such a line as this: 'Speak, hound! Or, by heaven, this night shall witness two murders instead of one!' Those were the days. (introduction to "The Weird Woman")

There is no credulity more blind, no ignorance more childish, that that of the sage who tries to measure “heaven and earth and the things under the earth”, with the small two-foot rule of his own brains. The

The tradition of telling ghost stories on Christmas Eve was firmly established by the Victorian period. Its origins are in the early Christian belief that souls in purgatory were most active on the day before a holy

At this point, a few words on this term 'horror' are perhaps called for. Some amateurs of this kind of literature engage in endless hairsplitting disputes, centered around this word and its close companion 'terror', as to which' stories may so be categorized and which may not, and whether or not descriptions such as weird or fantasy or macabre are preferable. The designation 'horror', with its connotations of revulsion, satisfies me no more than it does the purists but I believe that it is the only term which embraces all the stories in this collection and which succinctly suggests to the majority of readers what is in store for them. Horror then, in this instance, covers tales of the Supernatural and of physical terror, of ghosts and necromancy and of inhuman violence and all the dark corners and crevices of human belief and behavior that lie in between. ("An Age In Horror" - introduction)

It’s true enough that the Victorians were grappling with heady issues like utilitarianism and class consciousness. But the finest minds of the era were also devoted to an equally pressing question: What are we going to do with all of this shit?

The tradition of telling ghost stories on Christmas Eve was firmly established by the Victorian period. Its origins are in the early Christian belief that souls in purgatory were most active on the day before a holy day, and thus more likely to intrude into our world.

This was true enough, though it did not throw any light upon my perplexity. If we had heard of it to start with, it is possible that all the family would have considered the possession of a ghost a distinct advantage. It is the fashion of the times. We never think what a risk it is to play with young imaginations, but cry out, in the fashionable jargon, 'A ghost! - nothing else was wanted to make it perfect.' I should not have been above this myself. I should have smiled, of course, at the idea of the ghost at all, but then to feel that it was mine would have pleased my vanity. Oh, yes, I claim no exemption. The girls would have been delighted. I could fancy their eagerness, their interest, and excitement. No; if we had been told, it would have done no good - we should have made the bargain all the more eagerly, the fools that we are. ("The Open Door")

and an even more welcome one for the scrounging Scrooge. He loved the sound of the bell; it heralded the advent of more money. ‘Every time a bell rings, my money angel spreads his wings,’ he would laugh to himself, making a mockery of the sweet children’s saying about angels receiving their wings.

Dr. Montague’s intentions with regard to Hill House derived from the methods of the intrepid nineteenth-century ghost hunters; he was going to go and live in Hill House and see what happened there. It was his intention, at first, to follow the example of the anonymous Lady who went to stay at Ballechin House and ran a summer-long house party for skeptics and believers, with croquet and ghost-watching as the outstanding attractions, but skeptics, believers, and good croquet players are harder to come by today; Dr. Montague was forced to engage assistants. Perhaps the leisurely ways of Victorian life lent themselves more agreeably to the devices of psychic investigation,

And there has been no attempt to investigate it,' I said, 'to see what it really is?' 'Eh, Cornel,' said the coachman's wife, 'wha would investigate, as ye call it, a thing that nobody believes in? Ye would be the laughing-stock of a' the country-side, as my man says.' 'But you believe in it,' I said, turning upon her hastily. The woman was taken by surprise. She made a step backward out of my way. 'Lord, Cornel, how ye frichten a body! Me! there's awful strange things in this world. An unlearned person doesna ken what to think. But the minister and the gentry they just laugh in your face. Inquire into the thing that is not! Na, na, we just let it be.' ("The Open Door")

No wonder that the ghost and goblin stories had a new zest. No wonder that the blood of the more timid grew chill and curdled, that their flesh crept, and their hearts beat irregularly, and the girls peeped fearfully over their shoulders, and huddled close together like frightened sheep, and half-fancied they beheld some impish and malignant face gibbering at them from the darkling corners of the old room. By degrees my high spirits died out, and I felt the childish tremors, long latent, long forgotten, coming over me. I followed each story with painful interest; I did not ask myself if I believed the dismal tales. I listened and fear grew upon me - the blind, irrational fear of our nursery days. ("Horror: A True Tale")

He had promised Charles Danvers that he would stay away from his daughter and he had willfully and recklessly broke that vow despite the best of intentions. However, Charles Danvers had made many promises as well, promises he broke when he took his own life. So if his old friend’s ghost ever did come a-haunting, Grey would feel reasonably justified in telling him to sod off.

Oh, she was a great beauty," Maggie replied, and Hetty nodded in agreement. "The clearest blue-green eyes, and skin like peaches, with a splendid dusting of freckles," she said. "And her hair -- 'twas flaming red, and fell in marvellous profusion," Maggie added. "We used to call her Queen Elizabeth -- in jest, you understand, for the real Queen was quite fearsome I do believe. Mrs Bramstone almost hated Bessie I think, for how lovely she was".

So we're going ghosting. Our stories lie everywhere, just like our bones, more wild rides than you ever dreamt of, all the daring you want, and all the beauty. Freedom wasn't dull and plodding; it flamed across that Victorian sky like a rocket, it sang in the wind, it made a whole generation into world-changers. And we're going to tell it, if we have to howl in through your keyholes and the cracks in your walls; if we have to haunt your children, and steal across your borders to whisper legends in the ears of strangers.

My wife and I said good-bye the next morning in a little sheltered place among the lumber on the wharf; she was one of your women who never like to do their crying before folks. She climbed on the pile of lumber and sat down, a little flushed and quivery, to watch us off. I remember seeing her there with the baby till we were well down the channel. I remember noticing the bay as it grew cleaner, and thinking that I would break off swearing; and I remember cursing Bob Smart like a pirate within an hour. ("Kentucky's Ghost")

High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststrucuralism. European and American readers, not comfortable acknowledging the genocidal scale of killing Africa at the turn of the century, have cast Heart of Darkness loose from its historical moorings. We read it as a parable for all times and places, not as a book about one time and place.

As Sandy and his wife warmed to the tale, one tripping up another in their eagerness to tell everything, it gradually developed as distinct a superstition as I ever heard, and not without poetry and pathos. How long it was since the voice had been heard first, nobody could tell with certainty. Jarvis's opinion was that his father, who had been coachman at Brentwood before him, had never heard anything about it, and that the whole thing had arisen within the last ten years, since the complete dismantling of the old house: which was a wonderfully modern date for a tale so well authenticated. According to these witnesses, and to several whom I questioned afterwards, and who were all in perfect agreement, it was only in the months of November and December that "the visitation" occurred. During these months, the darkest of the year, scarcely a night passed without the recurrence of these inexplicable cries. Nothing, it was said, had ever been seen - at least nothing that could be identified. Some people, bolder or more imaginative than the others, had seen the darkness moving, Mrs Jarvis said with unconscious poetry. ("The Open Door")

Well, you have my gun so I’m trusting you to be a gentleman.” Big mistake. “Show me how to stand, again? Like so?” he asked, all innocence and absorption. His forward direction purposely atrocious, his boots together. His arm bent at a shameful angle. “You really are bad at this.” There it was. At least the ghost of a smile. She adjusted his position again, this time from the front. Kicking her boot between his. “Part your legs,” she ordered. “And bend your knees a little.” He swallowed around a tongue gone suddenly dry. “Generally speaking, bonny, those are commands given by me.

Like the folklorists spinning beguiling fantasies of ancient pagan rituals, Jerome, Borlase, Dickens and the Jameses (M.R. and Henry) were tapping into the old need for darkness within the new, Victorian, family Christmas, when people were meant to be getting cosy round the tree or roasting chestnuts by the fire with their nearest and dearest, and not rampaging drunkenly through the streets in a horrible mask. The traditions might have shifted, and the tales may have been rendered in a form that could be enjoyed quietly, at home, with your family, but everyone still wanted midwinter to be full of ghosts and monsters.

He was no hero. These were just things he did, sweeping up small crimes while he chased nightmares through the night. Back when he'd attempted to sleep, he'd been tortured by them. Eventually, those nightmares had seeped into the daylight, following him from the dark until they filled every corner of every room. Shades and specters. The ghosts of those he'd killed, of those who'd endeavored to kill him. Of the souls he'd failed to save and the monsters who'd escaped justice. For decades they'd haunted him, tormented him endlessly each time he dared close his eyes. Until he'd done something about it. He became the thing from which nightmares ran.

It is worth pausing for a second to reflect on Snow’s willingness to pursue his investigation this far. Here we have a man who had reached the very pinnacle of Victorian medical practice—attending on the queen of England with a procedure that he himself had pioneered—who was nonetheless willing to spend every spare moment away from his practice knocking on hundreds of doors in some of London’s most dangerous neighborhoods, seeking out specifically those houses that had been attacked by the most dread disease of the age. But without that tenacity, without that fearlessness, without that readiness to leave behind the safety of professional success and royal patronage, and venture into the streets, his “grand experiment”—as Snow came to call it—would have gone nowhere. The miasma theory would have remained unchallenged.

The Restless Sex, Some Ladies in Haste, and The Younger Set.

Edgar Allan Poe’s “Masque of the Red Death,

Oliphant plays with images of windows and mirrors, translucence and opacity, the present and the past.

In any system of terror, the functionaries must first of all see the victims as less than human, and Victorian ideas about race provided such a foundation.

Our fascination with the gothic peaks in times of anxiety, panic, and upheaval. The Victorian gothic revival of the 1890s was stoked by scientific, technological, and social change. Industrialization and urbanization sparked feelings of alienation. Darwin's theories of evolution and the changing roles of women fanned racist, misogynistic, homophobic, and colonialist fears of 'primitivism,' moral decay, and sexual depravity. In the nineteenth century, terror-inducing imagery had shifted away from crumbling castles to crime-infested cities, and fear of villains and ghosts was supplanted by a fear of madness and degeneration. In the twentieth century, we celebrated/mourned the death of authorship, of the grand narrative, of the self, 'going-one-better in eschatological eloquence,' as Jacques Derrida put it, 'the end of history...the end of subject, the end of man, the end of the West, the end of Oedipus, the end of the earth, Apocalypse Now.' A few years into the new millennium, we were zombie hordes, stalking social media for brains. The gothic is the fucked-either-way-and-freaking-the-fuck-out school of artistic interpretation, the hysterical framework of doom. And this tension between horror as morality tale and horror as decadent spectacle is, I believe, what fueled the pandemic of tabloid stories about wayward starlets that raged throughout 2006 and 2007. Celebrity train wreck stories begin, conservatively, as cautionary tales. A young woman, unprotected or legally emancipated, has moved alone from the relatively sheltered and secluded condition of parent-managed child stardom (because who, nowadays, is more cut off from the world than a child star?) into a corrupt and dangerous world, where her beauty, fame, youth, fortune, and sexual allure are regarded with a charged, ambivalent awe. She is instantly besieged with dangers, and preyed upon by unscrupulous adults. Until they can be contained again, by marriage or paternal protection, she exists in a constant state of uncertainty and peril. The peril is created, of course, by the 'author' - the media outlets that shape the train wreck's life, again and again, into thrilling, chilling tales of suspense.

The ghost story was also a hugely popular form for Victorian women writers, enabling them to discuss gender dynamics, sexuality, the constraints of domestic life and other taboo topics.

See,” she cried, “the river-bank— the dark rushing stream. Ah, we are all alone, side by side, far away from every one. Fool! if you could read my heart, would you walk so near to the giddy brink ? Do you think the memory of the old love will stay my hand when the chance comes? Old love is dead: you beat it, cursed it to death. How fast does the stream run ? Can a strong man swim against it ? Oh, if I could be sure — sure that one push would end it all and give me freedom! Once I longed for love — your love. Now I long for death — your death. Oh, brave swift tide, are you strong enough to free me forever ? Hark ! I can hear the roar of the rapids in the distance. There is a deep fall from the river cliff; there are rocks. Fool ! you stand at the very edge, and look down. The moment is come. Ah !

Owen, Alex, The Darkened Room: Women, Power and Spiritualism in Late Victorian England (Chicago, 1989)

Dregs The fire is out, and spent the warmth thereof, (This is the end of every song man sings!) The golden wine is drunk, the dregs remain, Bitter as wormwood and as salt as pain; And health and hope have gone the way of love Into the drear oblivion of lost things. Ghosts go along with us until the end; This was a mistress, this, perhaps, a friend. With pale, indifferent eyes, we sit and wait For the dropped curtain and the closing gate: This is the end of all the songs man sings. - Ernest Dowson

tread. The love of his wife encompassed him, and

Gothic is the genre of fear. Our fascination with it is almost always revived during times of instability and panic. In the wake of the French Revolution, the Marquis de Sade described the rise of the genre as 'the inevitable product of the revolutionary shock with which the whole of Europe resounded,' and literary critics in the late eighteenth century mocked the work of early gothic writers Anne Radcliffe and Matthew Lewis by referring to it as 'the terrorist school' of writing. As Fred Botting writes in Gothic, his lucid introduction to the genre, it expresses our unresolved feelings about 'the nature of power, law, society, family and sexuality' and yet is extremely concerned with issues of social disintegration and collapse. It's preoccupied with all that is immoral, fantastic, suspenseful, and sensational and yet prone to promoting middle-class values. It's interested in transgression, but it's ultimately more interested in restitution; it alludes to the past yet is carefully attuned to the present; it's designed to evoke excessive emotion, yet it's thoroughly ambivalent; it's the product of revolution and upheaval, yet it endeavors to contain their forces; it's terrifying, but pretty funny. And, importantly, the gothic always reflects the anxieties of its age in an appropriate package, so that by the nineteenth century, familiar tropes representing external threats like crumbling castles, aristocratic villains, and pesky ghosts had been swallowed and interiorized. In the nineteenth century, gothic horrors were more concerned with madness, disease, moral depravity, and decay than with evil aristocrats and depraved monks. Darwin's theories, the changing roles of women in society, and ethical issues raised by advances in science and technology haunted the Victorian gothic, and the repression of these fears returned again and again in the form of guilt, anxiety, and despair. 'Doubles, alter egos, mirrors, and animated representations of the disturbing parts of human identity became the stock devices,' Botting writes, 'signifying the alienation of the human subject from the culture and language in which s/he is located.' In the transition from modernity to post-modernity, the very idea of culture as something stable and real is challenged, and so postmodern gothic freaks itself out by dismantling modernist grand narratives and playing games. In the twentieth century, 'Gothic [was] everywhere and nowhere,' and 'narrative forms and devices spill[ed] over from worlds of fantasy and fiction into real and social spheres.

That little girl is probably extremely sweet. It’s not her fault she’s been dressed in a creepy Victorian ghost-child’s outfit.

My mind on this subject is quite made up, and, having the testimony of my own senses to rely upon, I prefer to abide by it.

that room, which had more drawers than a Victorian chorus line

The whole district of Australia where I lived was just a small plot in the immensity of the huge continent whose fringes only had been explored. Berrima, in fact, was merely a little paddock which had been carved out of the wilderness. Yet even here in the stillness of the early evening I had a feeling that as a human being I was an intruder in the forest. For these dense forests belonged to the pale ghostly trees and to the strange creatures that were hidden in them. Then, suddenly, I would jump as if a gun had been fired close to me, as the silence was rent by the piercing din of the kookaburra, screeching and screeching from the branches of a tree above, until the menacing sound changed to a mocking laugh. The low, hoarse laugh would seem unending. Abruptly it would finish in an obscene, deep-throated chuckle, which had an odd quality of knowingness and familiarity, suggesting an intimate awareness of the stark fear of the man walking through the undergrowth below, and a malicious pleasure at the prospect of some inevitable and terrible doom.

Put simply, I could pass as a Victorian ghost who got lost at Spencer’s.

the removal of the refuse of a large town,' he wrote, 'is perhaps one of the most important of social operations.' And the scavengers of Victorian London weren't just getting rid of that refuse—they were recycling it.

Christmas time, when it has come round—apart from the veneration due to its sacred name and origin, if anything belonging to it can be apart from that—as a good time; a kind, forgiving, charitable, pleasant time; the only time I know of, in the long calendar of the year, when men and women seem by one consent to open their shut-up hearts freely, and to think of people below them as if they really were fellow-passengers to the grave, and not another race of creatures bound on other journeys.

The Victorian ghost story shared some elements with its Gothic predecessor, in particular the setting of the isolated, old manor home, far from civilization. But the Victorian ghost story was decidedly un-Gothic in many ways.

Gothic writers reveled in Romance, in the unrealistic over-the-top expression of emotion. By contrast, the Victorian ghost story blurred the lines between spiritualist science and social realism.

The village in fact was like a deep-running cave still linked to its antic past, a cave whose shadows were cluttered by spirits and by laws still vaguely ancestral. This cave that we inhabited looked backwards through chambers that led to our ghostly beginnings; and had not, as yet, been tidied up, or scrubbed clean by electric light, or suburbanized by a Victorian church, or papered by cinema screens. It was something we just had time to inherit, to inherit and dimly know - the blood and beliefs of generations who had been in this valley since the Stone Age. That continuous contact has at last been broken, the deeper caves sealed off forever. But arriving, as I did, at the end of that age, I caught whiffs of something old as the glaciers. There were ghosts in the stones, in the trees, and the walls, and each field and hill had several. The elder people knew about these things and would refer to them in personal terms, and there were certain landmarks about the valley - tree clumps, corners in the woods - that bore separate, antique, half-muttered names that were certainly older than Christian.

Mae could’ve sworn she heard the old Victorian groan, a deep exhale from the walls themselves. It’s my house, she thought. And if it is full of ghosts, they’re my ghosts.

who possessed the nerves of a rhinoceros

He had a great dislike to all ghosts, but a particular aversion to the Christmas species. They were so moral, so improving, so bent on doing good.

And isn't Susan a man? Of course he is! A made-up young villain, who bamboozled the old Vicar, and nearly canoodled with George, the groom

As we saw him first on the beach, with a dress-skirt on over his other clothes, he looked like a pretty sleeping girl. Some women cried, and not a man said a word against him.

Well, I ain't goin' to be left like an owl in the ivy bush...It's too terrifyin

Send Charley -in his nightdress too- to meet a wandering ghost of a suicided parson! Not I!

Na! Na! Never turn back to meet the deevil, when ye have once got past him!

I wonder what she was doing walking down the hallway last night like some sort of weird Victorian ghost.

I have ceased to blame myself or others. Whatever was, being past, was right to be, and could not have been otherwise.

for I feared them — I knew no good could be about them, with their grey hard faces, and their dreamy eyes, looking back into the ghastly years that were gone.

These words, and the tone in which they were spoken, fixed themselves on my mind — first, from gratitude, not unmingled with regret, as if I had not been so considerate to her as she to me; afterwards — But we often err, my dear, in dwelling too much on that word. We finite creatures have only to deal with ‘now’ — nothing whatever to do with ‘afterwards’.

Ideas, like ghosts (according to the common notion of ghosts) must be spoken to a little before they will explain themselves;

After supper he went on to the poop once more, and I with him.

The Gothic repeatedly stages moments of transgression because it is obsessed with establishing and policing borders, delineating strict categories of being. The enduring icons of the Gothic are entities that breach the absolute distinctions between life and death (ghosts, vampires, mummies, zombies, Frankenstein's creature) or between human and beast (werewolves and other animalistic regressions, the creatures spliced together by Dr. Moreau) or which threaten the integrity of the individual ego and the exercise of will by merging with another (Jeckyll and Hyde, the persecuting double, the Mesmerist who holds victims in his or her power). Ostensibly, conclusions reinstate fixed borders, re-secure autonomy, and destroy any intolerable occupants of these twilight zones.

We can think about this in fairly abstract ways: the ghost, for instance, is structurally a stubborn trace of the past that persists into the present and demands a historical understanding if it is to be laid to rest. Similarly, Sigmund Freud defined the feeling of the uncanny as the shiver of realizing that modern reason has merely repressed rather than replaced primitive superstition. 'All supposedly educated people have ceased to believe officailly that the dead can become visible as spirits', yet Freud suspeccted that at times 'almost all of us think as savages do on this topic.' This return to pre-modern beliefs was itself the product of thinking of human subjectivity as a history of developmental layers that could be stripped away in an instant of dread, returning us to a 'savage' state.

As Grimalkin padded over to the fire grate, which was just starting to lick with flames, he caught sight of his own reflection in Eilidh’s brass firebox. A hunched tabby cat stared back at him, crooked of tail and jagged of whisker. His eyes, once lizard-green and flashing with alertness, were now, at 15 years old, cloudy and drawn ever-so-slightly down at the corners, so that his pupils looked unnaturally large. To the unassuming passerby, this might have given them a melancholy air, but, to the more perceptive among cats and humans, it in fact spoke of a profound and restless wisdom. His fur, at one time the envy of the neighborhood for its dazzling mix of browns, marmalades and creams, was now flecked with white and constantly matted with bits of grit that he could never completely lick off. His forelegs were stout, with big paws, the likes of which would not seem out of place on one of his wildcat cousins, excepting his neatly rounded toes; and his ginger hind leg, once his proudest attribute when prowling the communal gardens, had now turned a deep fox-red and was bent in a half curve that he couldn’t straighten out. There was a majesty about him, as there was with all handsome cats grown old, and a robustness to his form that suggested a prodigious Victorian diet of lark pie, pork suet and dripping. He was a thinking cat and, as such, enjoyed a life of quiet intellectual contemplation.

Even though Dean couldn’t hear him, he felt Levi’s laugh—a genuine laugh of freedom and joy. One of Harry’s paws landed on the rope, ending the game, but Levi only rubbed his dog’s head and began again. Lurking in the guest room window like the ghost of a Victorian child, Dean watched them long into the night.

An eight-year-old child shouldn’t be sleeping in a graveyard with his destitute mother, not on Christmas Eve.

Halfway down, Grimalkin turned to his left, dissolving through the stone wall into an immaculately appointed back garden; each rhododendron and acacia, each cube of lawn and vivid tulip petal was so perfectly appointed, pruned and ordered that Grimalkin felt almost taken aback. He was now in the Grange; the poshest part of town3. Legend has it that the cats down here in Victorian times would almost exclusively be pedigree. Indeed, one wealthy old family back in 1894 had, according to local gossip at the time, decorated an entire stable, beside a garage, specifically for their cats. The butler, Mr. Afflick, was apparently very kind to local cats, often surreptitiously letting in strays with an affectionate call of, “I dare say, you’re set on stealing wee Luna’s cream,” or “You’re a sleekit wee thing, here, have some victual. Don’t go spreading it around, mind, and make scarce or I’ll be out of a position by lunchtime.

It’s not her fault she’s been dressed in a creepy Victorian ghost-child’s outfit.

a creepy Victorian ghost-child’s outfit.

First, supply yourself with pamphlets and maps from the Visitors Center. Then rent a bicycle from one of those places along Seawall and ride north on 19th Street to Sealy. The heart of the East End Historical District is located between 19th and 14th, from Sealy to the Strand. Mainlanders who envision the Island as a barren sandbar are invariably amazed at the canopy of great oaks and the wall of stately palms that grace Galveston’s historic neighborhoods. Many of the homes are identified by markers: the “castle” of the Danish immigrant John C. Trube, at 1627 Sealy, is one of the Island’s strangest and most intriguing homes. It looks as though it were designed by a committee of architects. Trube, once the gardener of a Danish nobleman, had the house designed to resemble a castle in Kiel, Denmark, with battlement towers, and a mansard roof with nine gables. The house on the northwest corner of 17th and Winnie is the boyhood home of King Vidor, one of Hollywood’s best directors in the 1930s. The single most spectacular home is the old Gresham Mansion, now called the Bishop’s Palace, at the corner of Broadway and 14th. In silhouette this immense place looks like a medieval town. This was once the home of Colonel Walter Gresham, whose lobbying efforts secured federal money to widen and deepen the ship channel after the Civil War. Ashton Villa, a more delicate Victorian structure at 2328 Broadway, was once the home of Miss Bettie Brown, who scandalized Islanders in the 1880s by smoking cigarettes in public and racing unchaperoned along Broadway in a carriage pulled by matching teams of stallions—a black pair for day and a white pair for evening. It is said that on occasion Miss Brown’s ghost appears in the dead of night and plays the piano in the villa’s Gold Room.

Amanda took a long, hard look at the abandoned Ravenwood Inn, huge and empty for years. It sprawled across the shaded lawn like the bleached skeleton of a once-fine debutante, left to rot after a long history of visiting friends and elegant parties. Every line of its Victorian frame, the wide porches and gingerbread details on the many balconies, showed that it had once been loved in this little coastal town. If she used her imagination a bit, she could almost hear the laughter and see the ghosts of the previous guests as they walked arm in arm up the broad front steps, decked out in their finest evening attire from decades past. “Some