ghost

European finance has finally laid the ghosts of 2008 to rest.

As a teenager—Shelley started writing “Frankenstein” at 18—she was known to swap ghost stories with a circle of friends.

The stories in “After Midnight” are not ghost stories—or rather they are not exactly that.

With apologies to Ibsen’s ghost, DaCosta’s tweaks have sharpened its rage.

Not all ghost stories need to be scary—or toothless dark romantasy.