The Ghost Story Persists in American Literature. Why?

Parul Sehgal writes:

‘Literature — the top-shelf, award-winning stuff — is positively ectoplasmic these days, crawling with hauntings, haints and wraiths of every stripe and disposition. These ghosts can be nosy and lubricious, as in George Saunders’s “Lincoln in the Bardo,” which followed a group of spectral busybodies in purgatory, observing the arrival of Abraham Lincoln’s newly deceased young son. They can be confused by their fates, as in Martin Riker’s new novel, “Samuel Johnson’s Eternal Return,” in which a man is unsettled to discover that his essence has migrated into the body of the man who killed him. Spirits crop up in fiction about migration (Viet Thanh Nguyen’s “The Refugees”; Wayétu Moore’s “She Would Be King”) and complicate what might have been straightforward portraits of relationships (Ben Dolnick’s “The Ghost Notebooks,” Laura van den Berg’s “The Third Hotel,” Lauren Groff’s “Florida,” Helen Sedgwick’s “The Comet Seekers”). They terrify, instruct and enchant — sometimes all in the same book (Carmen Maria Machado’s short story collection, “Her Body and Other Parties,” features a veritable taxonomy of the type). …’

Source: The New York Times

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