Leigh Blackmore

In 2020 Blackmore served as convenor and judge on the Poetry category of the Australian Shadows Awards.

Blackmore was heavily involved as a speaker and promoter in the June 2019 Australian speaking tour by Lovecraft scholar S. T. Joshi and lectured on Lovecraft alongside Joshi, Larry Sitsky and others at the ANU School of Music, Canberra [48] and at the NSW Masonic Club in Sydney.

In 2014, after twenty years of continuous use of the magical name 'Frater LVX/NOX', Blackmore adopted the new magical name 'Frater HekAL'. In July 2016, he formally became a Student of the Fraternitatis A∴A∴ under an Australian superior. [50]

Worm Technology went on to perform mainly quirky originals, from "Here Come the Lonely Vegetables" to "Three Years on the Road", a country and western parody penned by Blackmore. Both Blackmore and Walker had both been particularly influenced by The Residents, The Velvet Underground, The B-52s and by Lenny Kaye's Nuggets series of sixties garage-rock reissues – influences which skewed their pop sensibility. John Gardner was consistently the bass player throughout Worm Technology's existence; he never contributed lyrics or music. Rhythm guitarist Malcolm Elliott and second vocalist Peter Rodgers entered, left and re-entered the band lineup at different periods. The band played one early gig where Blackmore had briefly left, under the moniker "Leigh Blackmore's Rainbow". Elliott and Rodgers also contributed song lyrics, as did mixer Garry Ryan, all of which were put to music by Greg Smith. Elliott's "Slept-On Hair" and "Simulus Stimulus", Ryan's "Cry Laughing Clown", "Technical Suicide" and "Pilot", and Rodger's "Who Do We Think We Are?" were all popular elements of Worm Technology's set. Many of Worm Technology's early gigs were at church halls, as several of the band members were Christians. (Blackmore experienced a conversion to Christianity which lasted until the early 1980s and a renewed rejection of it. Ian Walker became a Christian youth worker. Rodgers went on to become an Anglican minister and missionary in Indonesia from 1991 to 2002; later Rector of St Stephen's, Newtown and Federal Secretary of the (Australian) Church Missionary Society).

Blackmore is Official Editor (with Scott A. Shaeffer) of the Sword and Sorcery and Weird Fiction Terminus (SSFWT) amateur press association (founded by Benjamin Szumskyj) which has members in Australia, the US, the UK, Sweden and Finland. [41] SSWFT reached its 50th mailing in August 2013. (Blackmore's own contributions can be found archived on www.scribd.com). Blackmore also contributes a regular zine to S.T. Joshi's "Esoteric Order of Dagon" Amateur Press Association.[42] (Some issues can be found housed in Cuyler W. 'Ned' Brooks' fanzine archive [43]) He is also a member of the Australian Sherlock Holmes society the Sydney Passengers, and of the C.G. Jung Society of Sydney.

An experienced ritualist, Blackmore has written columns on Magick and the occult (with poet, Reclaiming (Neopaganism) witch and activist Margaret (Margi) Curtis) [51] – "Arts of the Craft" (2005) for Spellcraft magazine and "Black Cauldron" (2008–2009) for Black: Australia's Dark Culture magazine (Brimstone Press)[52]. He regularly lectures in the Illawarra NSW on Western esotericism, including (often with Curtis) running workshops and "Mystery Circle" discussion groups, and also at Campbelltown's Meditation Space.

Blackmore has collaborated on poems with US poets Richard L. Tierney [94], Fred Phillips, K.A. Opperman and Ashley Dioses; with French poet Adam Joffrain; and with Australian poet Charles Lovecraft. His poem "The Last Dream" (dedicated to Ambrose Bierce) (Weird Fiction Review No 4, 2013)[95] was a nominee for Best Long Poem in the annual Rhysling Award. Read online at: [96]

Blackmore regularly reviews horror fiction for US critical journal Dead Reckonings. His past review work of horror and fantasy fiction includes contributions to AsIF.com, Galaxy Newsletter, Lovecraft Annual, OzHorrorscope (online blog reviews), Prohibited Matter (column – "The State of the Nightmare"), Science Fiction (column – "Darkside"), Shoggoth, Skinned Alive [97] Spectral Realms,and the Sydney Morning Herald.

Since 2012, he has co-facilitated a group working the Enochian magic system of Dr John Dee and Edward Kelley, under the aegis of Aurora Australis Thelemic Temple with participants from Wollongong and Sydney.

In 2011 he started his own editorial and manuscript appraisal business, Proof Perfect Editorial Services. He is a member of the Society of Editors (NSW). He regularly workshops fiction with a writer's group including Margaret Curtis and Andrea Gawthorne [39].

He has taken an active role in pagan and ceremonial magick opening rituals at such events as EarthSong WitchCamp (Healesville, Vic, 2011) and the Thriving Illawarra Festival (Wollongong, 2012). Blackmore has co-facilitated and presented on Qabalah and ritual magick at such pagan gatherings such as the Leaderless Leaders/Bare Bones Reclaiming Gathering (Minto NSW) (Jan 2013) and the Mabon Equinox Gathering, Canberra (Mar 2014)(the latter was supported in part by the Pagan Initiative of P.A.N. Inc) [53]). He has worked part-time as an I Ching reader.

He became the second President of the Australian Horror Writers Association, serving from September 2010 until September 2011.

Much of Blackmore's weird poetry is now collected in Spores from Sharnoth & Other Madnesses, with a foreword by S.T. Joshi. The US journal Dead Reckonings declared that the collection "at once establishes Blackmore as one of the leading weird poets of our time." (A recording of Blackmore reading the poem "Dark Dedication" from the collection can be downloaded at ) A variant edition of this title, omitting the introduction and P'rea Press editors' foreword, and with some poems excluded and others added, under the title Sharnoth's Spores & Other Seeds, was published by Rainfall Books in 2010. [92]

Blackmore resumed playing music semi-professionally only in 2009 with the formation of the Illawarra-based 'popstalgia' trio The Third Road in which he plays five- and six-string bass and shares vocal duties with guitarist Margi Curtis and keyboards player Graham Wykes. The Third Road developed from the band Fedora, a trio featuring Curtis, Wykes and Bruce Greenfeld (later of Damned Fine Gentlemen). Blackmore joined on bass when Greenfeld left. The Third Road has played live in Wollongong at various events including the Thriving Illawarra Festival, Summer on the (Crown St) Mall, the annual National Disabilities Day gig organised by Essential Personnel (sometimes accompanied by singer/guitarist Al Morrison of Riogh), and at the annual Christmas party of the NSW Greens. They also performed several annual Xmas gigs at Sydney's Royal Automobile Club between 2013–15.

Blackmore married fellow bookseller and Neopagan Glayne Louise Vowles, with whom he had been in a relationship since 1994, in 1999 in a Hermetic ceremony which included readings from the Emerald Tablet of Hermes, Liber AL and The Black Book of Carmarthen. Certain items at the wedding were inscribed with the motto 'In girum imus nocte et consumimur igni' ('We dance in the darkness and are consumed by fire'), from the title of the 1978 film by Guy Debord. However, the couple divorced in 2001. Blackmore then moved from Parramatta to Earlwood, with friends including Peter Wilson, vocalist/trumpeter for Sydney-based ska band Backy Skank. Vowles died in June 2009 aged 36.; the Futurian Society of Sydney, to which she had belonged, observed a minute's silence at their meeting of 17 July 2009 for her, and for Locus editor Charles N. Brown, who had also recently died.

His radio play Calling Water was broadcast in late 2008 on ABC Radio National Airplay.

His audio-walk sound piece Carbon Footprints was exhibited as an installation at the University of Wollongong (Faculty of Creative Arts), Oct 2007.

He co-facilitated, with Margi Curtis and Graham Wykes, the eclectic Reclaiming (Neopaganism)-oriented witchcraft covens MoonsKin (2006–2011) and Black Swans (2014–2016). He has been an early active member of the organising collective for Witchcamps held by Australian Reclaiming. and also served a year on EarthSong's Conflict Resolution Committee.

His story "Cemetery Rose" was read by the author and dramatized with sound effects for the Writing Show's Six Days of Hallowe'en podcast (cohosted by Australian Horror Writers Association) in 2006. An interview with Blackmore conducted by Writing Show host Paula Berenstein was broadcast concurrently. [99]

In 2004, Blackmore left the book trade and relocated to Wollongong. He took a mature-age degree (Bachelor of Creative Writings (Hons)) at the University of Wollongong (2009–2016). A devotee of the Pre-Raphaelite painters, Blackmore wrote the creative component of his Honours thesis was a 35,000-word ficto-critical novella on the relationship between Dante Gabriel Rossetti and Elizabeth Siddall. The critical component of the thesis was on Terry Dowling.

He was briefly a member of The Temple of Set (2004) under Michael and Lilith Aquino but resigned in 2005.

He is a frequent panellist at science fiction conventions such as the Magic Casements Festival (Sydney, 2003) [44], the annual Conflux convention in Canberra (where with Margi Curtis he often runs workshops on magick)[45][46], and has been a panellist at Constantinople Australian National Science Fiction Convention(Melbourne, 1994), Freecon (Sydney, 2003) and Aussiecon 4(Melbourne, 2010)[47].

In 2001, Blackmore's comic-book story "The Gargoyle Club Gambit" (co-written with Christopher Sequeira) was published in Bold Action, a one-off special. [38]

In 1994–95, Blackmore was the Australian representative for the Horror Writers of America under the Presidency of Dennis Etchison.

His collage artwork, which is influenced by the Situationist technique of detournement, has been exhibited at the First Australasian Thelemic Conference (Sydney, 1994) and published in various issues of Tertangala magazine – example at:[100].

Terror Australis the magazine was followed by the anthology Terror Australis: Best Australian Horror (1993)[27], the first mass-market Australian horror anthology (edited by Blackmore alone). [28] Leanne Frahm's story "Catalyst" from the anthology won the Ditmar Award for best Australian Short Fiction. Blackmore was an invited judge on the Aurealis Award in 1995 and on the George Turner (writer) Award in 1999 [29][30]

Having corresponded with enthusiasts in the field such as Brian Lumley, Ramsey Campbell, Glenn Lord, W.H. Pugmire and Gregory Nicoll, he began (aged 13) to write fiction and speculative poetry in the vein of Lovecraft and C.A. Smith. Fictional juvenilia included "The Last Town" (a Lord Dunsany pastiche), "The Sacrifice" (based on an image of death from Ingmar Bergman's The Seventh Seal, and an uncompleted sword-and-sorcery novel, Starbreaker (with Ashley Morris). A few of these juvenile tales were first printed in Charles Danny Lovecraft's fanzine Avatar in the 1990s.

In 1990 Blackmore travelled via New York (where he met Peter H. Cannon, and interviewed Frank Belknap Long) to Providence for the H.P. Lovecraft Centennial Conference. As one of the Friends of Lovecraft group organised by S.T. Joshi, Jon Cooke and Will Murray, Blackmore contributed financially to erecting the memorial plaque in honour of Lovecraft which was erected outside the John Hay Library. In Providence, Blackmore met such figures as author Les Daniels,cartoonist and author Gahan Wilson, Marc A. Michaud (publisher of Necronomicon Press), critic Will Murray, editor David E. Schultz, Philip J. Rahman (copublisher of Fedogan and Bremer), Italian scholar Giuseppe Lippi, critic Steven J. Mariconda, French scholar Jean-Luc Buard, Necronomicon Press illustrators Jason C. Eckhardt and Robert H. Knox, editor Robert M. Price, critic Paul Buhle, and German scholar Kalju Kirde. He attended the world premiere of Re-Animator. Blackmore also spent time with writers Dennis Etchison and William F. Nolan while in Los Angeles.

In the early 1990s, owing to instinctive rejection of methods of social control, Blackmore became involved with the anarchist scene around Jura Books and the squatters collective Jellyhedz in Sydney, though his primary political interests lay in the Situationist International (especially the works of Guy Debord); and the ontological anarchism of Hakim Bey. The works of Colin Wilson became increasingly important to him (he interviewed Wilson in 1993) as did self-actualization and Timothy Leary's Eight Circuit Model of Consciousness as promulgated in Prometheus Rising by Robert Anton Wilson. Blackmore has an ongoing participatory involvement with psychogeography and the dérive. After discovering AK Press and Vague magazine [34], Blackmore co-founded Thoughtcrimes, an independent distributor of radical books and tapes which also operated culture-jamming and subvertising campaigns. Thoughtcrimes existed at roughly the same time as the American CrimethInc. began, with both drawing their names from the work of George Orwell. In this period Blackmore issued copyleft fanzines such as Antics: a Journal ov Anti-Control [35] and The Possibility of Finding Such a Dog. [36]. Thoughtcrimes was succeeded by Blackmore's Sydney Zeroist Alliance project of the early 2000s, which was inspired by both the Situationists (specifically by the notion of the Situationist prank), by original Neoism and by post-situ Stewart Home's projects such as the Art Strike, Praxis and the Neoist Alliance, as well as by the occult/mathematical significance of zero.

Also in the early 1990s, following a renewed interest in ceremonial magic along with influence from the performance art, music and Mail Art of Genesis P. Orridge, Blackmore joined Thee Temple ov Psychick Youth via their Australian station, TOPY Chaos. Reading deeply in Aleister Crowley and other esoteric material, he accepted The Book of the Law, took the magical name Fr. LVX/NOX and was initiated into several degrees in Crowley's Ordo Templi Orientis. via their Sydney body, Oceania Oasis (later Oceania Lodge).[37] He was ordained as a Deacon in the Ecclesia Gnostica Catholica and performed in several contemporary series of the Rites of Eleusis and in Crowley's mystery play The Ship. He has taken the role of Priest in Liber XV, The Gnostic Mass in the Illawarra and presented numerous workshops based on Crowley's magick.

Blackmore largely gave up music when Worm Technology broke up, to concentrate on his writing, although Astropop, a short-lived synthpop duo featuring Blackmore and Smith (which extended Worm Technology's late emphasis on extended synthesiser-based numbers such as "Samurai") had some success playing electronica including Kraftwerk covers but never recorded. Blackmore played drums in Post-Mortem (1987), a band which featured Ian Walker from Worm Technology, bassist Brian Pember from Sydney Christian new wave band Crossroad/Surprise, and a guitarist only remembered as Colin. There are no extant recordings of Astropop or Post-Mortem. In the mid-1990s Blackmore recorded with the short-lived experimental group White Stains (1990) (named after Aleister Crowley's poetry volume of the same title, White Stains), with illustrator and viola-player Gavin O'Keefe. White Stains released a cassette single "Acid Bath" (Blackmore/O'Keefe") backed with "The Finger", a musical interpretation of William Burrough's story about a man who cuts off his own finger.

With Christopher Sequeira and Bryce J. Stevens, Blackmore co-edited Terror Australis: The Australian Horror and Fantasy Magazine (1987–1992)[22] and co-founded the Gargoyle Club: The Sydney Horror Writers and Artists Society, which included Sydney horror writers and artists including Gavin O'Keefe, underground graphic novelists Steve 'Carnage' Carter and Antoinette Rydyr [23]; Rod Marsden [24], Don Boyd and others. The Gargoyle Club operated in Leichhardt, New South Wales and Petersham until 1992, after which it moved to venues in inner city Sydney and was subsequently joined by writers such as David Carroll and Kyla Ward. The club published two issues of their horror fiction magazine Cold Cuts co-edited by Antoinette Rydyr, Ron Clarke [25] and Don Boyd, Art Director was Steve Carter. [26]

His first published story was "The Infestation", adapted for graphic form by Gavin O'Keefe and published in the fourth issue of Phantastique (1986), [16] a comic which attracted notoriety (questions were asked in Australian Federal Parliament) for being government-funded via an Arts Council grant while containing visceral images and story content.

Worm Technology released several cassette-only albums including In Your Loungeroom (1985)(engineered by the band's mixer/sound technician, Garry Ryan). This contained two tracks imported from Ian Walker's side-project duo The Togs (with Worm Technology band manager Rik Ford), and other songs including "Crimefighter" (sung as if by a world-weary Batman) and the popular rock number "Wombats" (lyrics Blackmore) in which Blackmore put together his synth solo by segueing keyboard lines from songs by Iggy Pop, Fischer Z, and The Angels (Australian band), and Smith took his guitar line from "Magazine Madonna" by Sherbet. The band's later original repertoire tended to include a mix of catchy synth-driven pop songs such as "So Alone" and "Can't Stand the Pace", straightahead rock numbers such as "Can't You See,", "The Light" "Love Grows Cold," "Out of Sync" and "The Height of Love," reflective songs such as "The King is Dead," "No Fear," and "Set your Mind Right," and danceable numbers like the ska number "(Put it in a) Nutshell", mostly penned entirely by Smith.

In the 1980s, Blackmore published bibliographies on Brian Lumley and H.P. Lovecraft (the latter in collaboration with S.T. Joshi). While living in a caravan in the backyard of his parents' home, he came to be a well-regarded Lovecraft scholar, and carried on correspondence with other Lovecraft fans in many countries including USA, the UK, New Zealand, Japan, France, Germany, Italy, Poland and Russia. He was briefly a member of the early Esoteric Order of Dagon under Mollie Werba and the Necronomicon Lovecraftian amateur press (under R. Alain (Randy) Everts) associations, with his zines Red Viscous Madness[13], and Forbidden Dimensions, Nameless Dreams. [14] (He would rejoin the EOD around 2000 and has contributed continuous quarterly zines for it up until the present.

Worm Technology played gigs at various inner-city venues such as the Vulcan Hotel, Taverners Hill Hotel, The Rehearsal Room and the Sussex Hotel. They participated in a number of annual Strawberry Hills Hotel band competitions, along with such contemporary bands as The Hard-Ons. Worm Technology also undertook tours including the 'We Are Not the New Dylan Tour' (1980) in which they played obscure NSW country towns such as Fish River (Oberon) and The Lagoon; and the "Moo Cow Tour", in which they played in several Sydney milk-bars. The band also issued several issues of their official fanzine, Prince the Wonder Dog which were given away at gigs.

He worked as a bookseller in Sydney for 25 years (1979–2004), primarily managing specialist science fiction & fantasy departments within larger bookstores such as Dymocks. Authors hosted by Blackmore for events and signings at Dymocks George St [17] include Storm Constantine, Harlan Ellison, Richard Harland, Douglas Adams, Terry Pratchett, Bill Congreve, Simon Brown, Kyla Ward, Robert Hood, Cat Sparks, and Bryce J. Stevens.

Following stints at Macquarie University (where he belonged to the university's science fiction club and contributed to their zine Telmar [8]) and Sydney University (where he majored in Semitic Studies), Blackmore came in contact with Don Boyd [9], then editor of (Australian) Futuristic Tales. [10]. He showed early interest in unconventional art practice and anti-art after reading volumes on op art, pop art, and Sol LeWitt, whose work he homaged via a Mail Art network restricted to Australia. Beginning a 25-year career as a bookseller in 1978, he then worked in his spare time as an editorial assistant on The Australian Horror and Fantasy Magazine in the early 1980s; Blackmore went on to publish and co-edit its successor, Terror Australis magazine from 1987–1992. In 1983 Blackmore met writer and poet (Danny) Charles Lovecraft [11] through the letter column of Crypt of Cthulhu; Lovecraft would later found P'rea Press which published Blackmore's first poetry collection. Blackmore learned the art of first edition book collecting through his association with fan, DUFF-winner and collector Keith Curtis [12]

On moving back to Sydney in 1977, Blackmore played synthesisers and drums (and occasionally sang) with Sydney New Wave band Worm Technology and other bands. From a mixture of influences including prog and experimental rock, pop and punk, Worm Technology evolved their unique sound while living together in an old schoolhouse in Rozelle in Sydney. Blackmore had known Ian Walker (vox, gtr) in primary school; meanwhile Walker had befriended guitarist and synth player Greg Smith in high school. Smith was an early user of synthesisers, including the Steiner-Parker Synthacon.

This precursor band to Worm Technology lasted around a year (1977). One of their earliest recordings includes a reggae version of "Kookaburra", played strictly for laughs. A cassette-only album of punkish acoustic and vocal originals, "If You Don't Care for Your Scalp You Get Rabies" (1977) (its title taken from a line uttered by Terry Jones in the Monty Python episode "Mr Neutron"), performed by Blackmore, Walker and Smith, was released under the band name Tiploid Grundy and the Rabid Slime Moulds. "Boils" was a parody of then-fashionable punk music by Blackmore, with a riff possibly cribbed from Paul McCartney's song "Smile Away" (see Ram (album)). Simultaneously, with Smith, Blackmore initially concentrated on composing electronic music using sequencers, including the Robert Fripp and Brian Eno-influenced "Music for Bookshops" (1979), and a concept-cycle, recorded on o reel-to-reel tape, called "The Guardian", based on a collaborative fantasy story written by the two. When John Gardner (bass) joined, the band also released some cassette-only recordings including The Loungeroom Tapes and The Christmas Tapes.

Early interest in the world of science fiction fandom was evidenced by Blackmore's attendance of Aussiecon 1 (the 33rd World Science Fiction Convention and the first such held in Australia) in 1975 at the age of 15. He there met such figures as Forrest J. Ackerman (who showed him the ring which had been worn by Bela Lugosi when playing Dracula) and Jack L. Chalker (publisher of Mirage Press); he was enthralled by Ursula K. le Guin's guest of honour speech in which she spoke of science fiction breaking out of the 'literary ghetto' and declaring that 'Philip K. Dick deserves to be placed on the shelf alongside Dickens'. [7]

He was later educated at North Sydney Boys High School (1971–72) and Newcastle Boys' High School (1972–76). In high school, after reading the science fiction anthology series "Out of This World" (edited by Mably Owen and Amabel Williams-Ellis), he graduated to devouring the works of Ray Bradbury, Peter Saxon, H. Rider Haggard, Isaac Asimov, Arthur Conan Doyle, Agatha Christie, and Leslie Charteris, and became a keen enthusiast of sword and sorcery fiction as represented by Lin Carter's Flashing Swords anthologies and Thongor series novels [6], Edgar Rice Burroughs's Martian tales, Michael Moorcock's Elric sequence and others, and horror fiction (especially the Weird Tales school, including Clark Ashton Smith, Robert Bloch, Frank Belknap Long, Donald Wandrei and H.P. Lovecraft's Cthulhu Mythos), discovering their work via anthologies edited by August Derleth, Peter Haining, Karl Edward Wagner (the Year's Best Horror Stories series), and via publications of Arkham House which he special-ordered via Space Age Books (Melbourne), then Australia's only specialist supplier of science fiction and fantasy books.

Worm Technology initially played covers by 1960s and 1970s acts including Kevin Ayers, Lou Reed, The Troggs, Them, The Human Beinz, Modern Lovers, Ramones, Elvis Costello, The Jam and The Buzzcocks, and punkified medleys of old TV cartoon theme tunes such as Astroboy, Marine Boy and Gigantor (WT were playing their version of the latter before Californian punk band The Dickies recorded it in 1980.). Their deconstructed version of "Satisfaction" by the Rolling Stones, featuring Walker's famed one-note guitar solo on an amplified tin toy guitar bought from an op shop, preceded Devo's take on the same number.

The band often parodied musical trends, as in "Dull Rapsville" (lyrics Blackmore/Walker; music Smith), a parody of early rap a la Grandmaster Flash. Continuing their disdain of most rock posturing, the band played one tour with all members dressed as crooner Val Doonican, wearing cardigans and thick black spectacles. Lead vocalist Ian Walker's renowned stage act included using a toy rabbit owned in Blackmore's childhood as a prop for the song "Furry Animals", and standing on a chair throughout the song "The Tree (That was Not a Tree)". In the original song (Revenge of the) Phantom Agents (based on the 1960s Japanese TV series), the band threw cardboard shuriken into the audience. In 1980, Greg Smith wrote a rock opera, The Lift, in the vein of works such as Genesis' The Lamb Lies Down on Broadway and rehearsed Worm Technology intensively in its performance; a more serious work, it bemused many Worm Technology fans and received one live performance only; it was issued as both a studio and live cassette-only album. One song from the work, "Stereotypists", was re-vamped as "The Aliens" and became a set staple.

Worm Technology had several offshoot bands including Koga Ninja (named after characters from the 1960s TV show The Samurai), in which the band members (Blackmore, Smith and Elliott) dressed up as ninjas in costumes made by Smith. The band used synths and drum machines extensively. Koga Ninja released several cassette only live albums.

Leigh (David) Blackmore (born 1959) is an Australian horror writer, critic, editor, occultist, musician and proponent of post-left anarchy. He was the Australian representative for the Horror Writers of America (1994–95) and served as the second President of the Australian Horror Writers Association (2010–2011). His work has been nominated four times for the Ditmar Award, once for fiction and three times for the William Atheling Jr. Award for criticism. [3]. He has contributed entries to such encyclopedias as S.T. Joshi and Stefan J. Dziemianowicz (eds) Supernatural Literature of the World (Greenwood Press, 2005, 3 vols) and June Pulliam and Tony Fonseca (eds), Ghosts in Popular Culture and Legend (ABC-Clio, 2016).