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The New YorkerWhy is the Hudson Valley haunted?” Judith Richardson asks in Possessions, a study of “the history and uses of haunting” upstate. Richardson reviews the area’s bloody rebellions and wandering ghost sailors, drawing on county archives, travelogues, letters, and the usual literary sources. She finds that the valley’s ghostly legacy derives, in part, from a fraught history of land ownership, the influence of Dutch and German folklore, and a naturally ominous landscape—as well as from entrepreneurs in the tourism industry. Richardson herself seems a little susceptible to the atmosphere that spooked Ichabod Crane. The “mountains loom and brood,” she writes, and she seeks to explain “how hauntings intersect with cultural history, public memory, economics, and land issues.”
The teen-age ghosts in Stewart O’Nan’s new novel, The Night Country, also profit from native superstition. “This is still a new England, garden-green, veined with black rivers and massacres,” one of them says. The narrators were killed in a Halloween car accident, and, a year later, skittish townspeople are easy marks for their amusement. The dead are bent on revenge, which they get, of course, in an apotheosis of middle-of-the-night adolescent car rides through dark landscapes.
In Sara Gran’s Come Closer, the haunting starts in the office of a young architect, Amanda, who ignores early signs of otherworldly intervention, such as a mysterious tapping in her apartment and the delivery of a book, “Demon Possession Past and Present.” But soon she is witnessing old murders and, alas, committing new ones. Amanda’s detached and witty narration helps us believe, as she says, that “what we think is impossible happens all the time.” -- (Lauren Porcaro)