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The Best Creepy Horror Movies

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Creepy isn’t the same as scary.

Of course horror movies can be scary simply by using loud noises and sudden movements to make their audiences jump, but creepy is harder to pull off. To be effectively creepy, a film needs to establish a certain atmosphere; it needs to draw you in and make you care. It needs to give you something to think about when you’re trying to drop off to sleep at night; to make you wonder whether that creaking noise down the hallway was just the house settling or something lurking in the shadows. Creepy stays with you. It gives you goosebumps.

Here are 85 of the best horror movies (in no particular order) to chill your bones. Enjoy the nightmares.

Us (2019)

Jordan Peele’s follow up to his award winner Get Out is another social horror. While it might not be quite as accomplished or coherent as Get Out (the end is a bit of a mess) Us is arguably scarier than Get Out as a family staying in a holiday home find themselves tormented by evil replicas of themselves. It’s a film that keeps you constantly on edge with the performances of the main cast – Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph and Evan Alex – absolutely pitch perfect and never less than convincing as good and evil versions of themselves.

It Comes At Night (2017)

Though the marketing material was somewhat misleading, featuring the above scary-looking dude (who really isn’t a big part of the film at all), It Comes at Night, from director Trey Edward Shults is a claustrophobic slow-burner that insidiously ramps up the creep factor. Joel Edgerton plays the patriarch of a family holed up in a cabin in the woods to escape an unnamed wide spread virus. But when a man, his wife and their young child arrive seeking shelter his family life is disrupted. A coming-of-age horror with one of the bleakest endings around.

Mr. Jones (2013)

Nobody knows who Mr. Jones is. The artist is a recluse, but his bizarre sculptures have made him world famous. When a documentary maker and his girlfriend stumble across what looks like his workshop, they become obsessed with finding out the truth about Mr. Jones, but the truth isn��t particularly easy to stomach.

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One of the most stylishly shot found footage movies you’ll ever see, the makers know the rules of the genre well enough that when they break them, it adds to the story rather than detracting from it. Also, those scarecrows are petrifying.

Under the Shadow (2016)

Set in war-torn Tehran in the late 1980s, Under the Shadow sees a would-be doctor battling the forces of evil for her daughter (and her sanity) even as everyone around her flees to safer ground. The juxtaposition of earthly and unearthly threats makes this a uniquely terrifying film, and Shideh (Narges Rashidi) is a wonderfully complex and sympathetic heroine. Not many films could make a sheet of printed fabric terrifying, but Under the Shadow manages it.

Gaslight (1940)

Bella (Diana Wynyard) thinks she’s losing her mind. She keeps losing things, and the lights in her house seem to flicker, even though her husband Paul (Anton Walbrook) tells her he can’t see anything wrong. Plus there are those footsteps upstairs… Just from that description, you might think that Gaslight will turn out to be a haunted house story, but the real explanation for all the weirdness is far more sinister than that. Walbrook does sinister like no-one else.

The Babadook (2014)

A character from a terrifying kids book comes to life to haunt a single mother (Essie Davis) grieving for the loss of her husband in this beautiful, sorrowful meditation on depression and despair. Top-hatted Mr. Babadook with his horrible, terrible grin is of course creepy as all, but Noah Wiseman as her needy and uncontrollable child gives him a run for his money in creepiness.

The Clairvoyant (1934)

Maximus, King Of The Mind Readers (Claude Rains) performs amazing feats of clairvoyance on stage every night in front of adoring audiences. The problem is, it’s fake – the mind-reading is all done through a secret code Maximus has invented to communicate with his assistant wife, Rene (Fay Wray). But one night, he meets Christine (Jane Baxter), and his abilities become real. He really can predict the future. If you’ve already guessed that’ll turn out to be more of a burden than a gift, you’re right. Gorgeously shot, wonderfully acted, this is a creepy delight.

Sleep Tight (2011)

The second Jaume Balaguero film on this list is just as bleak and horrifying as the first: Sleep Tight sees a concierge secretly breaking into the homes of the people he’s supposed to serve to try to make them as miserable as he is. When Cesar (Luis Tosar) finds one tenant is harder to upset than the others, his behaviour escalates until he’s committing unimaginably grotesque crimes against the poor girl. The ending will have you shuddering in your seat.

Lake Mungo (2008)

This strange found footage film from Australia takes the format of a mockumentary focusing on the family of a dead girl who think there are supernatural goings on surround their house. It owes a debt to Twin Peaks in its odd neighborhood vibe, and the twisty plot holds many surprises, as the movie wrong foots the audience time and again. It’s creepy throughout but by the time you finally discover what’s really going on it’s not only terrifying but emotionally devastating too.

Dead of Night (1945)

Probably the best horror anthology ever made, this Ealing Studios production includes five individual stories and one wrap-around narrative. The wrap-around sees a consultant arrive at a country home only to find that he recognizes all of the guests at the house – he’s seen them all in a dream.

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Spooked, the guests start recounting their own stories of the uncanny, each more unnerving than the last. Well, except for the one about the golfers, but that one’s just there for light relief before the film hits you with the scariest ventriloquist’s dummy ever committed to film. Just excellent, all round.

Hereditary (2018)

One of the most truly harrowing movies of recent years is Hereditary, the feature debut from Ari Aster. Toni Collette stars as a mother trying to hold together her family in the aftermath of a tragedy while around her supernatural goings on begin to escalate.

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Hereditary has been called The Exorcist for a new generation, though it’s so much more than that. In fact at times, Hereditary is almost too scary, so oppressive is it’s escalating anguish and dread. This one is pure nightmare fodder.

Nina Forever (2015)

Rob (Cian Barry) can’t get over his ex-girlfriend. Nina (Fiona O’Shaughnessy) died in a car crash, which is bad enough, but when he tentatively begins a relationship with his co-worker, Holly (Abigail Hardingham), he finds himself haunted by Nina. Literally. She materializes in his bed every time he and Holly have sex – she might be dead, but she’s not letting go.

“Creepy” doesn’t feel like a strong enough word to describe this film – “devastating” might do it. It’s a sensitive and horrifying portrayal of grief, with a sense of humour as dark as the inside of your eyelids, and some extremely upsetting gore. Brilliant, but not one for the faint-hearted.

Robin Redbreast (1970)

When she moves away from London to a tiny country cottage, Norah (Anna Cropper) expected the change to be a bit strange, but nowhere near as weird as it ultimately turns out to be. As she gets to know the locals, she finds herself being pushed towards a relationship with karate-loving Rob (Andrew Bradford), and while she’s initially game, she soon discovers that her choices are being made for her. It’s a little bit Wicker Man, a little bit Rosemary’s Baby, and a lot of creepiness.

It Follows (2014)

Inspired by a reccuring nightmare director David Robert Mitchell had in his youth,It Follows is a clever, freaky take on the slasher movie, featuring, well, a sexually transmitted ghost. Maika Monroe plays a young woman haunted by a shape shifting spectre after a sexual encounter who slowly but relentless trails her everywhere – the film plays with the audience expertly, making us guess whether background characters could really be the monster. Ultra modern and highly effective, this one will leave you jumping at shadows long after the credits roll.

The Masque of the Red Death (1964)

A tyrannical landowner is plagued by, well, a literal plague in Roger Corman’s adaptation of an Edgar Allan Poe story. Vincent Price plays the Satanic Prince Prospero, who rules over his village with an iron fist, condemning people to death for the mildest offence and abducting any woman who takes his fancy, but all of his evils come back to haunt him when he throws a masked ball and Death shows up. Fittingly, it’s got the hallucinogenic quality of a fever dream, and the various incarnations of Death are wonderfully creepy.

As Above, So Below (2014)

A group of explorers heads deep into the Paris catacombs, only to find they’ve gone a little too deep and stumbled into an alternate dimension that might actually be Hell. It’s a brilliantly over the top concept, and the way it plays out is incredibly eerie. Yes, it’s found footage, and yes, it’s a little bit on the silly side – it chucks in quotes from Dante and a few too many sad-faced ghosts – but some of the scares along the way are properly frightening. Suspend your disbelief and let it freak you out.

Oculus (2013)

Eleven years ago, Alan (Rory Cochrane) bought an antique mirror… and then died, along with his wife. According to the police, they were murdered by their 10-year-old son. According to their daughter, the mirror is haunted, and something supernatural caused their deaths. Now Tim (Brenton Thwaites) is out of prison, Kaylie (Karen Gillan) wants to prove he was innocent by conducting an experiment on the mirror… But inadvertently puts both of them in danger all over again.

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It’s chilling. The way director Mike Flanagan plays with reality, building unbearable uncertainty through camera angles and false memories, makes this film both incredibly scary and impossibly sad.

The Witch (2015)

After being cast out of a New England plantation for not interpreting scripture in the same way as the colony’s elders, a family strikes out alone, and soon discovers how inhospitable their unfamiliar new home country can really be. The Witch is a period piece, and the language is suitably archaic, but don’t let that put you off: it’s a brilliantly chilling portrayal of Puritan life, where belief can mean the difference between life and death, and horror is only ever one failed crop away.

The Amityville Horror (1979)

The Amityville Horror is the haunted house story. If you were only ever going to watch one haunted house movie, it should be this one, because this is the archetypal story: a family moves into a house where horrible murders happened, and then bad things happen to them. It manages a lot of things later imitators didn’t, though, which is that it makes the Lutzes’ decision to buy the house make sense, and also builds the horror slowly, so that they almost don’t notice when the things going wrong in the house switch from annoying issues to outright horror. If you’ve moved house in recent memory, this one’ll hit you where it hurts.

The Conjuring (2013)

If you were only ever going to watch two haunted house movies, the second one should definitely be The Conjuring. James Wan’s ode to ’70s horror has plenty in common with The Amityville Horror, but it also has plenty of ideas of its own – and at least half a dozen moments that’ll make your heart leap into your mouth.

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The camerawork, the music, the cute kids stuck in the middle of epic spiritual warfare… it all adds up to a completely terrifying experience. You’ll probably need to sleep with a nightlight for a week afterwards.

The Changeling (1980)

George C. Scott stars as Dr. John Russell in this classic ghost story, which is a favorite of The Others director Alejandro Amenabár. Following the tragic demise of his wife and son, Dr. Russell moves into a rambling Victorian mansion to compose music and pick up the pieces of his life. He’s soon being woken by relentless booming sounds coming from the heating system, precisely at 6am every day… Then there’s the old “apparition in the self-filling bath” trick (actually, this may be the first time this happened onscreen, but it sure won’t be the last).

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This is one of those movies which hits up all the clichés: people go into the dark, gloomy attic to search for clues, and to the library to look up old news archives on the microfiche; they visit the graveyard, and finally, hold a séance (which is overwhelmingly creepy). The eerie soundtrack and skilful storytelling result in a film which peels back its mysterious layers slowly for a satisfying finish.

The Hallow (2015)

If you go down to the woods today, make sure you don’t steal anything or break anything, or the Hallow will get you. Tree surgeon Adam and his family move into an ancient farmhouse to start sizing up the land for developers and quickly fall afoul of the supernatural creatures lurking in the trees, which turns out to be a really bad idea. This film’s got it all: foreboding mythology, grotesque body horror, and the most amazing line of foreshadowing dialogue you’ll ever hear.

The Uninvited (1944)

A couple of Londoners holidaying in Cornwall stumble across a gorgeous abandoned house on the seafront and immediately decide they want to buy it. The owner, a grumpy old colonel, is happy to sell it to them on the spot, but his granddaughter is reluctant. Turns out the house has got secrets, and, yeah, a ghost. The dialogue in this film is incredible in a very 1940s kind of way, and the tone can occasionally be accused of jolliness, but it’s also got its moments of proper creepiness. Best enjoyed with a glass of sherry.

Saint Maud (2019)

One of the best movies of the year, Rose Glass’s feature debut is a study of a young palliative care nurse who starts to believe she’s on a mission from God to save the soul of her dying patient.

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It’s a film about conflicts between mind, body and soul, but it leans her into genre territory as Maud (Morfydd Clark) hear God talking to her directly and punishes her own body in an attempt to feel closer to her spiritual side, while the cancer riddled Amanda (Jennifer Elhe) celebrates her body as it lets her down. Shot in Scarborough everything about Saint Maud is unsettling right up to the indelible finale. An absolute must watch.

Crimson Peak (2015)

Director Guillermo del Toro insists that Crimson Peak isn’t a horror film but is, instead, a gothic romance. That doesn’t mean that it isn’t creepy as all get-out, though. When aspiring author Edith Cushing (Mia Wasikowska) meets charming baronet Thomas Sharpe (Tom Hiddleston), she falls madly in love and agrees to move back to his ancestral home, Allerdale Hall – aka Crimson Peak. But the house is crumbling and full of ghosts, and Sir Thomas’s sister doesn’t seem terribly friendly, either…

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Del Toro’s visual flair is in full effect here, and every frame of this film (even the scary ones) are stunningly beautiful to look at. It’s a treat.

Baskin (2015)

A group of cops answers a call from the middle of nowhere and unwittingly stumble into something that can only be described as ‘a nightmare’ in this skin-crawlingly nasty Turkish horror. Abrasive, aggressive and deliberately difficult, this is the kind of film that burrows deep into your brain, only to resurface later at the worst possible time. Then again, by the time you’re stranded in the middle of nowhere with only dead colleagues and Silent Hill-style monsters for company, you probably don’t need memories of a horror movie to freak you out.

His House (2020)

A Netflix movie which could make a mark come award’s season the directorial debut of Remi Weekes sees a Sudanese refugee couple seek housing in London only to find themselves haunted by ghosts of the past and present. This is proper horror and it’s creepy as hell but it also leans into the horror of the refugee situation with the two marginalized, restricted, and treated as outsiders from the start – it’s a powerful but uncomfortable watch.

Host (2020)

The defining horror of 2020 – written, shot, edited and released on Shudder in just 12 week – Host is so much more than a lockdown gimmick. Following a group of friends who decide to do a seance via a Zoom chat, this ingenious movie trades on the real life friendships of the cast and crew and the absolute ubiquity of the video software during isolation. It’s seriously creepy too, utilising visions in the shadow but later some seriously impressive stunt work. Director Rob Savage and writer Jed Shepherd have signed up for a three picture deal from Blumhouse on the strength of this movie which absolutely needs to be seen.

The Haunting (1963)

Not to be confused with the remake of 1999, this retro gem not only features some classic sequences of spooky happenings, but a philosophical take on the paranormal. As John Markway says, “The preternatural is something we don’t have any natural explanation for right now but probably will have someday – the preternatural of one generation becomes the natural of the next. Scientists once laughed at the idea of magnetic attraction; they couldn’t explain it, so they refused to admit it exists.

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Dr. Markway (Richard Johnson) is investigating the mysterious Hill House, whose inhabitants often die in odd circumstances. With him he has Luke (Russ Tamblyn), the cynical heir to the home, the psychic Theo (Claire Bloom, way too cool for school) and Julie Harris as Eleanor, who has some ghosts of her own but figures a free stay in a mansion is as close to a holiday as she’s going to get. Markway is pleased the ladies haven’t done any research into the bad reputation of the house “So much the better. You should be innocent and receptive.” (The old dog.) This is a great, character-driven story with a dry sense of humor, and a mysterious heroine who feels oddly at home with the supernatural.

Unfriended (2014)

A cautionary tale about the dangers of cyberbullying, Unfriended achieves the seemingly impossible and manages to make the standard sound effects of everyday computer programs terrifying. The whole story is told through one character’s desktop, so you get to watch as she Skypes with her friends, posts to Facebook, or picks something to listen to on Spotify. The details are fascinating, and it’s kind of brilliant how the filmmakers manage to express so much about a character through her browser bookmarks and the messages she types, but doesn’t send. Once the horror kicks in, though, you’ll be too scared to notice much more of the cleverness.

Shutter (2004)

Jane (Natthaweeranuch Thongmee) is driving back from a wedding with her boyfriend Tun (Ananda Everingham) when she hits a girl – in a panic, they leave the body lying in the road and try to get on with their lives. They start feeling rattled when Tun’s photography is blighted by misty shadows and they both suffer from the odd hallucination which seems to show that their hit and run victim (Achita Sikamana) isn’t resting in peace.

Where would horror films be without photographic dark rooms? Even in the digital age, the dim red light and slowly emerging pictures remain classic tools of terror. Not to mention the room with rows of jars containing pickled animals, and the surprise homage to Psycho. This story has it all. There are also touches of dark humor throughout (the praying mantis is a recurring motif) and one of the most bone-chilling scenes has a hilarious payoff.

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Directors Banjong Pisanthanakun and Parkpoom Wongpoom skilfully create real characters and have the ability to communicate some of the most powerful and eloquent moments without dialogue. The mystery deepens as more sinister evidence comes to light and the climax is truly chilling. This is one which will stay with you long after Halloween.

Spider Baby (1967)

The Merrye children live out in the middle of nowhere, with only one another and their family chauffeur, Bruno (Lon Chaney Jr) for company. Which is for the best, because they’re all afflicted with the family curse – a bizarre quirk of genetics that causes members of the Merrye family to begin to de-evolve once they reach a certain age. When some distant relatives come to visit, intending to challenge the kids’ right to stay in the house, things go sour fast. It’s a horror comedy, this one, but if you’re not a little bit creeped out by Virginia (Jill Banner), the Spider Baby of the title, and her spider game, well, good luck to you.

What Lies Beneath (2000)

Robert Zemeckis directs Michelle Pfieffer and Harrison Ford in this glossy supernatural thriller, with predictably high quality results. Clare and Norman Spencer live the perfect life – especially now their daughter has left for college and they’re enjoying empty nest syndrome. But the neighbors are causing some concern – especially when the wife disappears and Claire believes she is trying to communicate with her from “the other side.”

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Zemeckis has admitted that this is his homage to Hitchcock, and true to form, the suspense builds deliciously slowly. When Claire starts seeing faces in the bathtub (where else?) she goes to talk it over with a psychiatrist. A session with a Ouija board proves that somebody is trying to contact Claire, and it’s not long before she’s stealing keepsakes from grieving parents and reading books with chapters helpfully entitled “Conjuring the Dead.”

The result is a strong movie whether you’re enjoying the ghost story or the “Yuppies in peril in a beautiful house” aspect of it (and it doesn’t hurt that Michelle looks luminously beautiful).

Cat People (1942)

Serbian immigrant Irena doesn’t have a friend in the world when she meets Oliver. He’s kind and attentive and they soon fall in love, despite Irena’s lack of physical affection. She’s convinced she’s living under a curse that will mean she’ll transform into a panther and kill any man she kisses, and despite seeing a (deeply inappropriate) psychiatrist, she can’t shake her beliefs. Oliver is initially patient but eventually finds himself falling for his much more reasonable colleague, Alice. There’s no way this love triangle can end happily and, well, it doesn’t. Cat People is sad as well as eerie, with an increasingly paranoid atmosphere enhanced by skillful shadow play.

The Nameless (1999)

Five years after her daughter Angela went missing, presumed dead, Claudia starts getting weird phone calls. A female voice claims to be Angela, and begs her mother to save her. A series of weird clues leads Claudia to investigate a weird cult… but when things slot into place too easily, it seems like someone might be luring her into a trap. Thematically, The Nameless is similar to Jaume Balaguero’s later film Darkness; there’s a similar feeling of hopelessness and despair, a creeping horror that doesn’t let up, topped off with a horribly downbeat ending. Brrrr.

Dead End (2003)

The Harrington family are driving home for Christmas when they decide to take a shortcut. Obviously, that turns out to be a bad idea. Picking up a mysterious hitchhiker is an even worse idea. Dead End isn’t a particularly original movie, and it does have a truly awful ending, but there’s something about its characters, its atmosphere, and the way it tells the well-worn story that’s really effective. And creepy, of course.

The Others (2001)

Every ghost story introduces an element of uncertainty: are these things really happening, or are they in your head? Like The Innocents, The Others is partly inspired by Henry James’ novella The Turn Of The Screw. Grace (Nicole Kidman) has turned being neurotic into a fulltime job; her children apparently suffer from a sensitivity to light, which means the gothic mansion they inhabit must be swathed in thick curtains at all times. This makes things difficult for the new servants, who have turned up in a most mysterious manner…

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Grace’s daughter has an imaginary playmate called Victor; her insistence that there are “other people” in the house vexes Grace until she begins to hear them, too. A piano playing by itself, shaking chandeliers and some truly traumatic hallucinations add to the panic as Grace questions exactly who she is sharing her home with. The tension builds to almost unbearable heights before a truly haunting ending. An intelligent script with a superb twist, quality acting and an atmospheric set (complete with graveyards, mist and autumn leaves) – what more could you want in a creepy movie?

Night of the Living Dead (1968)

“It is happening, and no one is safe.” Night of the Living Dead features some of the most brilliantly ominous radio broadcasts in all horror. When a group of strangers end up trapped in an isolated farmhouse together after the dead begin to rise, no one is in the mood for making friends, and it’s their own prejudices and stubbornness that leads to their downfall. (Well, that, and the fact that no one realized getting bitten by a ghoul would lead to death and reincarnation. Oops.)

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The zombie imagery is some of the most haunting ever committed to film, as vacant-eyed ghouls wander in and out of the shadows, chewing on dismembered body parts as they lurch around, constantly in search of fresh meat…

Candyman (1992)

Say his name five times into a mirror and the Candyman appears. Despite his sweet-sounding name, that’s not something you really want to do: Daniel Robitaille was a murdered artist, stung to death by bees in a racist attack, and so he tends not to be in a good mood when he shows up. Set in an urban tower block, this film demonstrates that horror can strike anywhere, not just in spooky old mansions in the middle of the countryside. It’s gory, grimy, and really quite disturbing.

M (1931)

A child murderer is stalking the streets of Berlin and, as the police seem unable to catch him, tensions run high. In an attempt to stop the nightly police raids, the town’s criminals decide to catch the killer themselves, and a frantic chase begins. Though there’s no actual onscreen violence, Peter Lorre is amazingly creepy as the whistling killer, and there’s a sense of corruption pervading the whole film. (Since both Lorre and Fritz Lang, the director, fled the country in fear of the Nazis soon after the film was made, it’s tempting to speculate on what M might be saying about Germany at the time, which only makes it all the creepier.)

The Blair Witch Project (1999)

An early example of the found footage genre, The Blair Witch Project has been aped and parodied by everyone and their grandma, but there’s something unsettling about it that hasn’t quite gone away. Most of the film is improvised; the actors are really filming the scenes themselves, working from a loose outline of the plot, but without prior knowledge of what half the scares were going to be. That ambiguous ending lets you make up whatever explanation you like for the events of the film, which means whatever the scariest thing you can think of is, that’s what the film is about.

The Orphanage (2007)

Laura (Belén Rueda) is returning to her childhood orphanage with her husband and son in order to open it as a care home for children with disabilities. She’s busy, but still has time to notice that seven year old Simón (Roger Príncep) has found an imaginary friend, Tomas. He might have a sack over his head, but what’s a little creepy mask between pals?

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Simón is adopted, so it’s only a little odd when a social worker shows up without an appointment. It’s slightly more odd that she’s snooping around in the shed at night. During a daytime party, Laura has an encounter of her own with a masked child, and then experiences every parent’s nightmare: Simón is missing. What follows is the story of a mother who takes the search for her son to the limits of her sanity. Geraldine Chaplin makes an appearance as the medium who conducts possibly the most spine-tingling of all onscreen séances, and there are some truly terrifying shocks during Laura’s search for the truth.

Director JA Bayona makes every shot count; the movie is visually beautiful as well as fantastically sinister. It’s a bona fide horror film but the ending might make you cry.

Ring (1998)

Ring isn’t a perfect film. It’s a bit too long and ponderous and there’s a bit too much irrelevant mysticism in there. But in terms of pure creepiness, it’s pretty damned effective. The idea of a cursed videotape was brilliant – who didn’t have zillions of unmarked VHS tapes lying around the house at the time? – and that climactic scene where the image on the screen crossed over into reality is bloodcurdling. Sneaky, too, since it managed to suggest that no one was safe. Especially not you, gentle viewer, because didn’t you just watch that cursed tape, too? An awful lot of people must have breathed a sigh of relief once their own personal seven-day window was over.

The Innocents (1961)

Based on Henry James’ The Turn of the Screw, this film sees a young governess heading out to an isolated old house to take care of two young children who appear to be keeping secrets from her. Their previous governess died, along with another of the house’s servants, but their influence still seems to be lingering about. Or is it? Just like in the original story, it’s possible to read the ghosts either as genuine spectres or as the fevered imaginings of an over-stressed and under-sexed young woman. Either way, though, the film is terrifying.

The Skeleton Key (2005)

In a decaying house on an old plantation, an old man is dying. Caroline is hired as his carer, but although her job should be simple enough, she begins to suspect that something weird is going on – especially when she finds a secret room in the house’s attic filled with spell books and other arcane bits and bobs.

Is the old man actually under a spell? Why does he seem so terrified of his wife? And might Caroline herself be in danger? The Skeleton Key is one of those films that’s far better than it has any right to be; it slowly ratchets up the tension to a crazy finale and ends on an incredibly creepy note.

Insidious (2010)

Insidious uses just about every trick in the book to creep out its audience, and for some people, that might seem like overkill. There are lurking monsters around every corner; there’s a child in peril; there are wrong-faced nasties; and there are screeching violins every five minutes. On repeat viewings, the plot doesn’t quite hold up (halfway through, the film switches protagonists, which is baffling) and the comedy relief seems grating rather than funny. But the carnival atmosphere, the nods to silent German Expressionist films, the demon’s bizarre appearance, that dancing ghost… there’s something brilliant about it, nonetheless.

Dark Water (2002)

Part of the initial wave of soggy dead girl movies, Dark Water is occasionally very daft, but still effectively creepy. Yoshimi Matsubara is a divorcee, forced by circumstances to move into a crumbling apartment block with her young daughter, Ikuko. Their new home isn’t in the nicest of areas, but it might be alright if it weren’t for the leaky ceiling – and, um, that creepy little girl lurking in the shadows, the one who’s never there when you take a second look. Directed by Hideo Nakata and based on a book by Koji Suzuki, Dark Water might not be as terrifying as Ring, but it’s still pretty eerie.

A Nightmare On Elm Street (1984)

The effects are dated, and the sequels utterly killed Freddy Krueger’s menace, but the first A Nightmare on Elm Street film is still creepy, in its way. The premise is amazingly disturbing – a dead child molester is attacking children in their dreams – and, combined with some of the deeply weird nightmare imagery in this film, it’s more than enough to give anyone a few sleepless nights. All together now: one, two, Freddy’s coming for you…

Uzumaki (2000)

Slowly, inexplicably, a small town is taken over by spirals. Some people become obsessed; others are killed, their bodies twisted into impossible positions. Uzumaki is a live action adaptation of the manga of the same name, and it’s incredibly weird. Unspeakably weird. Visually, it’s incredible, although the green filters look less interesting than they used to due to overuse by every horror and sci-fi movie since. Still, most films don’t go to the extremes that Uzumaki does.

The Devil’s Backbone (2001)

Yup, it’s another soggy dead kid movie, but this time the kid is a boy and the action is set in civil war-era Spain. A young boy is sent to a creepy orphanage, where the other boys scare one another by telling stories about the resident ghost, Santi, who was killed when the orphanage was bombed. Written and directed by Guillermo del Toro, this isn’t your average ghost story – it’s a companion piece to Pan’s Labyrinth, but it’s much more of a horror movie than its better known counterpart.

The Vanishing/Spoorloos (1988)

Saskia and Rex are on holiday when Saskia suddenly, inexplicably, disappears. Rex dedicates his time to trying to find her, but to no avail. He can’t move on, can’t live with the uncertainty, so when Saskia’s kidnapper reveals himself and offers to show Rex what happened to her, his curiosity wins out. It’s a simple yet eerie story with an utterly devastating ending.

Audition (1999)

Takashi Miike’s Audition is more often described as extremely disturbing rather than creepy, but if you can get over that ending (which, let’s be honest, most of us watched through our fingers or from behind a cushion while shouting “NO NO NO NO NO” at the screen), the rest of the film may well creep you out. It starts off slow: a middle-aged man is thinking about dating again, but rather than trying to meet women via traditional methods, he holds a series of fake auditions for a non-existent movie. He meets Asami, a shy dancer, and starts wooing her – but Asami isn’t as sweet and innocent as she seems. Pretty much every character in this movie is an awful person, and the way they treat one another is disturbing on many, many levels.

One Missed Call (2004)

Also directed by Takashi Miike, One Missed Call is a parody of the endless string of soggy dead girl movies made in Japan at the time. But somehow it’s still really creepy. The premise is that, as the title suggests, teenagers are receiving missed calls on their mobile phones. The mystery caller leaves a horrifying voicemail: the sound of the phone’s owner screaming in agony. And since the call came from the person’s own phone, and appears to come from a few days in the future, it’s clearly a sign of impending doom. Sure enough, the kids all die just as the missed call predicted. There’s a nasty little backstory about evil little girls, and a bonkers televised exorcism, and generally, it’s a great film whether you love or loathe stories about scary dead kids.

The Last Man on Earth (1964)

You might’ve thought about how you’d survive the apocalypse, but have you ever stopped to consider whether it’s actually worth doing? In The Last Man On Earth, Vincent Price is the only survivor of a mysterious plague that’s turned the rest of humanity into walking corpses, hungry for his blood. Every day, he tools up and goes out to kill the bloodsuckers; every night, they surround his house and try to kill him. It’s a dismal way to live, and a depressingly eerie film. It’s based on Richard Matheson’s novel I Am Legend – so skip the Will Smith adaptation and watch this instead.

A Tale Of Two Sisters (2003)

Part melodramatic family drama, part psychological horror, A Tale Of Two Sisters is all scary all the time. When a pair of sisters return from a mental hospital, having been traumatised by their mother’s death, they find their new stepmother difficult to adjust to. The nightly visitations from a blood-dripping ghost don’t help, either. But as always in these kinds of films, nothing is what it seems – you might need a second viewing to get your head round the ending.

Night of the Hunter (1955)

Robert Mitchum might have claimed not to be interested in movies or acting, but he’s great in this. As Harry Powell, a bizarrely religious conman, he’s terrifying, whether he’s preaching about the evils of fornication or chasing the children of his latest victim across the country in an attempt to steal a stash of money he knows they’re hiding. The use of light and shadow in this movie is just stunning; the first time Powell arrives at the Harper house is a particular highlight. Robert Mitchum’s singing voice isn’t half bad, either.

Peeping Tom (1960)

Peeping Tom was so controversial when it was released that it effectively ended director Michael Powell’s career. It’s violent, voyeuristic, and since it tells a story from the villain’s point of view; it’s entirely unsavoury. And it’s wonderful. It looks great, it has an amazingly twisted (and tragic) plot, and Carl Boehm is brilliant as Mark, the awkward, mild-mannered psychopath who feels compelled to murder as a result of his father’s deranged experiments. (That’s not a spoiler, by the way – but if I told you how he killed his victims, that might be.)

Psycho (1960)

Happily, 1960’s other movie about a disturbed serial killer was less of a career-killer. Alfred Hitchcock’s Psycho is wonderful, sodden with guilt and tension right from the opening scene. It’s a shame that so many of its twists are so well-known now, because watching this without knowing what was going to happen must have been brilliant. It’s still great – beautiful to watch, genuinely tense and frequently unnerving – but it has lost some of its shock value over the years. (Also, the bit at the end where the psychiatrist explains everything in great detail is utterly superfluous.) Anthony Perkins’ final twitchy, smirky scene is seriously creepy though.

City Of The Dead / Horror Hotel (1960)

Getting the timing of a holiday wrong can have disastrous consequences, as City Of The Dead illustrates. Nan Barlow is a history student who, under the tutelage of Christopher Lee’s Professor Driscoll, becomes fascinated with the history of witchcraft, and decides to visit the site of a famous witch trial… but she arrives in town on Candlemas Eve, probably the most important date in the witches’ calendar. Um, oops.

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City Of The Dead is often compared to Psycho, and there are enough similarities between the films that you could assume it was a cheap rip-off – but though the campy US retitling supports that assumption, this was actually made before Hitchcock’s motel-based chiller. It’s definitely creepy enough to be worth watching on its own merits.

Village Of The Damned (1960)

For no apparent reason, one day every living being in the English village of Midwich falls unconscious. For hours, no one can get near Midwich without passing out. When they wake up, every woman in the village finds herself mysteriously pregnant. Obviously, their children aren’t normal, and something has to be done about them… Based on John Wyndham’s novel The Midwich Cuckoos, Village Of The Damned is more of a sci-fi movie than a horror movie – but it’s super creepy nonetheless.

Dolls (1987)

Re-Animator director Stuart Gordon toned things down a bit for this creepy fairy tale, but not much. When a group of awful human beings are forced to spend the night in the home of a couple of ancient toymakers, they soon get their comeuppance at the hands of – well, the title gives that away, doesn’t it? You’ll never look at Toys R Us in the same way again.

The Woman In Black (1989)

When a reclusive old lady dies in an isolated house out in the marshes, a young lawyer is sent to sort out her estate. But there’s something weird about her house, and the townspeople aren’t keen on helping sort things out, either. The TV version of this movie is far, far creepier than the Daniel Radcliffe version; there’s one moment in particular that will etch itself on your brain and continue to creep you out for years after you see it…

The Perfume of the Lady in Black (1974)

Beautifully shot with a great score, The Perfume of the Lady in Black is a dreamy, unsettling film where nothing is ever as it seems. The wonderfully named Mimsy Farmer plays Sylvia, a scientist haunted by melancholy and hallucinations. She’s never quite recovered from her mother’s suicide, and when she goes to a party where talk turns to witchcraft and human sacrifice, her sanity starts to unravel. But are her problems really all in her head, or is there something else going on? The film doesn’t reveal its secrets until the very end, when all that creepiness pays off spectacularly.

May (2002)

May was always a weird child, and unfortunately she’s grown into a weird adult, too. Unable to form any meaningful relationships with the people around her – not even a class of blind children she thinks might be kinder to her than the people who can see how strange and awkward she is – May decides she’ll need to take this “making a friend” business into her own hands. Dark and twisted and incredibly gory, May is as sad and sweet as it is creepy. A lot of that is attributable to Angela Bettis, whose performance is adorably unnerving.

Nosferatu (1922)

In this unauthorised take on Dracula, the evil Count is depicted not as a tragic or romantic anti-hero, but as a horrifying embodiment of the plague – complete with an entourage of rats. Max Schreck makes a brilliantly weird-looking vampire, all teeth, ears and fingernails; his shadow is especially unnerving. Although the ending as presented seems a little abrupt, it’s conceptually horrifying – as is the fact that, due to a copyright claim filed by Bram Stoker’s estate, all but one copy of this movie was destroyed back in the 1920s.

Vampyr (1932)

In a spooky old inn, Allan Grey is visited in the night by an old man who leaves him a gift-wrapped book, with instructions to open it only on the occasion of the man’s death. Which turns out to be soon. The book explains that the town is plagued by vampires – and, helpfully, gives instructions on how to kill them. Vampyr is an early sound film, so while there is some sound and a little dialogue, most of the silent film conventions are still in place. It has a fairly straightforward, Dracula-esque story, but the plot’s not the point. It’s a deliberately strange film, full of disembodied dancing shadows and weird dream sequences; there’s something almost otherworldly about it.

Dracula (1931)

Bela Lugosi is the definitive Dracula. With his eerie eyes and wonderful accent, he’s brilliantly threatening as the charming Count, but despite his iconic performance here, he’s not the creepiest thing about this film. Nope, that honor goes to Dwight Frye’s portrayal of Renfield, the lunatic spider-eater under Dracula’s control. He’s amazing, all awkward body language and hysterical laughter. Lugosi’s oddly cadenced speech has been emulated and parodied a zillion times, which takes away some of its power; Frye’s performance, on the other hand, is just downright disturbing.

White Zombie (1932)

A year after Dracula, Bela Lugosi starred as Murder Legendre, an evil voodoo master, in one of the first ever zombie movies. The zombies here aren’t flesh-eating ghouls but obedient slaves, working tirelessly in Legendre’s mill. Even when one of them tumbles into a grinder, work doesn’t stop. When the plantation owner goes to Legendre for help winning the heart of the girl he loves, he’s handed a dose of the zombie potion – and now the only way to break Legendre’s spell over the innocent girl is to kill him. Lugosi is suitably menacing, and the drone-like zombies are properly eerie.

The Cursed Medallion/The Night Child (1975)

For a few years, in 1970s Italy, Nicoletta Elmi was the go-to creepy kid. She pops up in Mario Bava’s Bay of Blood and Baron Blood, and in Dario Argento’s Deep Red, among others, but she’s never more creepy than she is in The Cursed Medallion. Here, she plays Emily, the daughter of an art historian who’s making a documentary on demons in paintings. She’s given a medallion but, as the title suggests, it’s cursed, and she ends up possessed by the spirit of a murderess. It’s atmospheric, lovingly photographed and, of course, Elmi is awesome in the lead role.

The Descent (2005)

A group of friends go off on a spelunking holiday, but get more than they bargained for when it turns out that the caves they’re exploring are dangerous in more ways than one. There’s enough time spent on character development that you really feel it when the group starts to get thinned out; there’s some incredibly painful-looking gore; and there are some amazingly freaky monsters. Watch it in a darkened room to make the most of its wonderfully claustrophobic atmosphere.

Paranormal Activity (2007)

The shine might’ve come off this movie because the Paranormal Activity franchise has become Lionsgate’s new one-every-Halloween cash cow, but there’s something deliciously creepy about this movie. Rewatching it now, even knowing when all the scares are coming, it’s still chilling. In a neat twist on the traditional haunted house story, Paranormal Activity’s entity haunts a person, not a house – so its victim can’t just pack up and move. The found footage conceit is used to great effect, making you stare intently at grainy nighttime footage of an empty room, straining your ears for distant footsteps, before making you jump out of your skin with a loud bang. (Pro tip: the movie has three different endings, so if you think you’re bored of it, try one of the others.)

Ju-on: The Grudge (2002)

So much of the effectiveness of a horror movie comes down to its sound design. A well-placed creak, groan, echo, or jangle can make the difference between something completely normal and something terrifying. New scary noises don’t come along very often, but Ju-on: The Grudge managed to come up with something unlike any other scary noise you’ve heard before. Its ghost makes a weird rattling, burping groan as she approaches; it’s kind of like a death rattle, kind of like a throttled scream, and it’s creepier than anything you’ve ever heard before. The film is relentless, light on plot and heavy on jump scares, but it’s that noise that’ll stay with you.

Julia’s Eyes (2010)

Julia and her twin sister, Sara, both suffer from the same degenerative disease – one that causes them to go blind. When Sara undergoes experimental surgery and subsequently kills herself, Julia suspects foul play – and, indeed, something weird seems to be going on, with whisperings about an invisible man lurking in the shadows. But as Julia gets closer to the truth, her own eyesight suffers more and more…The film restricts our vision almost as much as Julia’s; it’s almost unbearably claustrophobic, and ultimately heartbreaking.

The Eye (2002)

Another film about eyes and the horrors of going blind, The Eye follows Mun, a classical violinist from Hong Kong, as she undergoes an eye transplant. Although the transplant seems to be successful – Mun can see again – something isn’t right, because now she can see dead people. And most of them are terrifying. The ending is vaguely preposterous, but the rest of the film is creepy enough that it’s forgivable.

Zombie Flesh Eaters (1979)

Lucio Fulci’s unofficial sequel to Dawn Of The Dead features perhaps the creepiest zombies ever committed to film. When a boat turns up in New York harbour with only a zombie on board, investigative reporter Peter West sets out to find out where the boat came from and what’s going on. He ends up on the island of Matool, where the dead are returning to life to eat the flesh of the living… and they’re really, really gross. Zombie Flesh Eaters was initially classified as a video nasty in the UK, and it’s not difficult to see why. Its atmosphere elevates it above your average exploitation movie, though; there’s something really melancholy about it.

[REC] (2007)

When a local news crew decided to tag along with the fire brigade for an evening, they probably didn’t realise they’d end up fighting from their lives in a zombie-infested tower block. Co-written and co-directed by Paco Plaza and Jaume Balaguero (yup, him again), [REC] is a decent enough zombie movie, until the final reel, when it reveals an even more terrifying ace up its sleeve.

Let Me In (2010)

Although remakes are usually terrible, Matt Reeves’ take on this unusual vampire story was both respectful of and different from the original and, for my money, it’s creepier. Lonely tween Owen doesn’t have any friends until the equally strange Abby moves in next door. They embark on an odd friendship/proto-romance, but Abby has a secret: she’s a vampire. The use of a candy jingle is, against all odds, really eerie, and by paring the story down to its most essential elements (and getting rid of that daft cat scene) Let Me In makes for a scarier watch than Let The Right One In.

Carnival Of Souls (1962)

After a traumatic accident, weird things start happening to Mary. A strange man seems to be stalking her, though no one else can see him, and she feels irresistibly drawn to an abandoned pavilion out in the middle of nowhere. Once upon a time, the pavilion housed a carnival, but now it’s just an empty building… or is it? There’s nothing surprising about the plot of this movie to a modern audience – you’ll have the whole film worked out within about five minutes – but it is gloriously creepy. The climactic scenes at the carnival are pure nightmare fuel.

The Shining (1980)

Probably the most effective of all the Stephen King adaptations, The Shining plonks Jack Nicholson down in the middle of a creepy hotel and lets him do his thing. Nicholson plays Jack Torrance, a struggling writer who gets a winter job as caretaker of The Overlook Hotel, where the isolation and/or ghosts send him out of his mind. There are so many creepy images in this film: the twin girls who just want to play, the woman in room 237, the lift full of blood, and, oh, lots more.

The Cabinet Of Doctor Caligari (1920)

Appropriately, watching The Cabinet Of Doctor Caligari feels like slipping into a nightmare. Caligari’s cabinet holds Cesare, the sleepwalker – a catatonic oracle able to answer questions of life and death with eerie accuracy. Is Caligari a hypnotist, a murderer, or both? It’s a strange story, made stranger with a twist ending, and rendered impossibly creepy by the Expressionist production design. The weird, distorted hand-painted sets give the film a crude, unreal beauty and, if anything, the passage of time has increased the film’s creepiness, because it’s so utterly unlike modern films.

The Exorcist (1973)

An obvious choice, but The Exorcist is genuinely scary. It’s deceptively simple: the filming style is realistic, the locations are ordinary-looking and, by comparison to more modern horror movies, there aren’t many elaborate effects or stunts. But the film makes every scary moment count. It’s atmosphere is oppressive, claustrophobic – there’s an ever-present sense of dread throughout. It ought to feel more dated than it does, but even now, the demonic makeup and scratchy voice of the possessed Regan gives me goosebumps.

The Omen (1976)

Damien is probably the ultimate creepy child. Adopted by the Thorns when their own newborn dies, it doesn’t take long for his dark side to emerge: Damien is the Antichrist.

There are so many iconic moments in this film, so many things that have shaped both the horror genre and our culture’s idea of evil; something about this film really struck a chord, and even now it’s pretty effective. Every death scene in this movie is memorable, but the suicide of Damien’s nanny at his birthday party particularly stands out.

Ghostwatch (1992)

Originally shown on UK TV at Halloween, Ghostwatch scared a whole generation shitless. It’s presented as a live broadcast, starring familiar BBC faces: Michael Parkinson plays host, while Sarah Green and Craig Charles report from the scene as a normal family recount their experiences with the terrifying ghost they’ve dubbed “Pipes”. The shadowy figure of a man is glimpsed several times throughout the show, some appearances more obvious than others, and as viewers call in to share their own stories, things get weirder and weirder…Okay, this isn’t technically a film, but it is so amazingly creepy and brilliant that it couldn’t be left off the list.

The Wicker Man (1973)

The Wicker Man is a wonderful mishmash of genres: it’s got humour, horror, singing and sex. It frequently teeters on the edge of absurdity. But at heart, it’s deeply creepy. When devout Christian Sgt Howie visits the isolated community of Summerisle, he thinks he’s investigating the abduction of a little girl – and the villagers certainly do seem to be acting suspiciously. But as his investigation continues, it becomes clear that something entirely different is going on. Howie runs headlong to his doom, and its final scene is downright spine-chilling.

Suspiria (1977)

Suspiria is Dario Argento’s finest hour. It’s eyeball-meltingly beautiful to look at, all unnatural neon lighting and ridiculously lavish set design; the music is cacophonous, a never-ending wall of sound that doesn’t let up; and the plot is, well, it’s functional enough.

Suzy, an American ballet dancer, flies to an exclusive dance school in Germany only to find herself in the midst of a murder investigation – and something weird is definitely going on with the teachers. If you haven’t seen Suspiria in a while, treat yourself to the Blu-ray. There’s nothing restrained about this movie, nothing ordinary; it sneaks up on you and worms its way into your brain. It’s brilliant.

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ARGONAUTICA AND AFRICA

by Jason Colavito

http://www.argonauts-book.com/argonautica-and-africa.html

Egypt

“Legends connecting the Argonauts to Africa are ancient. The first of them derives from the myth itself, when Jason and his crew carry the Argo over Libya (North Africa) and cross the mythical Lake Tritonis. Apollonius, in fact, wrote his Argonautica in the context of Ptolemaic Egypt, and Pindar composed the Fourth Pythian Ode in honor of a North African ruler. In another context, Hecataeus of Heraclea would suggest the Argonauts sailed up the Nile to return to Greece. In the words of Kathryn J. Gutzwiller in A Guide to Hellenistic Literature (Blackwell, 2007), by Hellenistic times, the story of the Argonauts had become a "foundation story" and "mythical precedent" for Greek colonization of Egypt and North Africa (p. 77).

However, there were not the only connections. In The Histories, Herodotus explained that the people of Colchis were in fact Egyptians, remnants of an invading force led by the (mythical) pharaoh Sesostris:

There can be no doubt that the Colchians are an Egyptian race. Before I heard any mention of the fact from others, I had remarked it myself. After the thought had struck me, I made inquiries on the subject both in Colchis and in Egypt, and I found that the Colchians had a more distinct recollection of the Egyptians, than the Egyptians had of them. Still the Egyptians said that they believed the Colchians to be descended from the army of Sesostris. My own conjectures were founded, first, on the fact that they are black-skinned and have woolly hair, which certainly amounts to but little, since several other nations are so too; but further and more especially, on the circumstance that the Colchians, the Egyptians, and the Ethiopians, are the only nations who have practised circumcision from the earliest times

Source: Herodotus, The Histories 2.104 (trans. George Rawlinson)

These ancient connections would lead to innumerable latter-day speculations about African influence on the Argonautica. In his early translation of the Argonautica of Apollonius, Edward Burnaby-Greene (1780) wrote extensive notes detailing his belief that Colchis was an Egyptian colony, with Aeetes "no more than viceroy under the sovereign of Egypt" (p. 120). Among the earliest scholarly speculations seized on the coincidence of language between Jason's Argo and Egyptian and Biblical arks to propose that Jason's mission was modeled on the Egyptian, and therefore that of Noah:

In respect to the Argo, it was the same as the ship of Noah, of which the Baris of Egypt was a representation. It is called by Plutarch the ship of Osiris, who as I have mentioned, was exposed in an ark to avoid the fury of Typhon: “Having therefore privately taken the measure of Osiris’s body, and framed a curious ark, very finely beautified and just of the size of his body, he brought it to a certain banquet.” The vessel in the celestial sphere, which the Grecians call the Argo, is a representation of the ship of Osiris, which out of reverence has been placed in the heavens. The original therefore of it must be looked for in Egypt.

Source: Jacob Bryant, A New System: Or, an Analysis of Ancient Mythology, 3rd ed., vol. 3 (London: 1807).

Now the luniform ark of Osiris, in which he floated on the surface of the waters, was certainly the sacred ship of Osiris; that ship, in which the Egyptians placed the Sun, and in which they depicted their eight great gods sailing together over the ocean. But the ship of Osiris, as we are plainly taught by Plutarch, was that very ship, which the Greeks called Argo, and which they feigned to be the vehicle of Jason and his adventurous companions to Colchis: for he tells us, that the Argo was placed among the constellations in honour of the ship of Osiris. Hence it will follow, that the Argo must be the Ark, and that the whole fable of the Argonautic expedition must be a mere romance founded on the mystic voyage of Osiris, that is to say, on the real voyage of Noah.

Source: George Stanley Faber, The Origin of Pagan Idolatry Ascertained from Historical Testimony and Circumstantial Evidence, vol. 2 (London: F. and C. Rivingtons, 1816), 244.

Later, Afrocentric authors would instead argue that the influence originated in Egypt, the homeland of a black African people, whose superior achievements the Greeks jealously coveted and attempted to steal for themselves. R. A. Jariazbhoy argued that, based solely on the testimony of Herodotus, Jason's quest was to learn from the wisdom of the Egyptians in Colchis, the Golden Fleece being a Greek misinterpretation of the Egyptians' superior sea-going vessels:

The fleece is described as being "watched over by a serpent." Such a golden ram's head overlooked by a serpent occurs nowhere else than on the prow of a ship of Ramses III (and one of his predecessors). The ship was named Userhet, it was 130 cubits long (about 200 feet), and had golden rams on both prow and stern, each with a uraeus serpent overtopping it surmounted with the sun's disk. Below is a grand collar, which could have been mistaken for its fleece.

Source: R. A. Jairazbhoy, “Egyptian Civilization in Colchis on the Black Sea,” in African Presence in Early Asia, eds. Runoko Rashidi and Ivan Van Sertima (New Brunswick: Transaction, 1988), 61.

In Black Athena (1987-1996), a controversial three-volume Afrocentric tome by scholar Martin Bernal, assumed in vol. 2 (1991) that Apollonius' Hellenistic poem accurately reflected Mycenaean geographical knowledge to suggest, after (and mostly because of) Herodotus, that the Greeks followed in the wake of Egyptian ventures to and from Colchis. In the wake of Black Athena, other Afrocentric scholars would cite Hecataeus' claim that the Argonauts sailed up the Nile as proof of the Argonauts' Egyptian influence and return time and again to the alleged racial link (unrecognized by anthropology) between Geogrians and Egyptians. Down to this day, despite repeated debunking, Afrocentrist scholars claim that an indigenous population of black Africans, the remains of Sesostris' army, live in Georgia.

Ethiopia

Earlier still, a previous generation of Afrocentric writers preferred to extol the glories of the undoubtedly black African civilization of Ethiopia, with its myriad wonders and astonishing architecture, over that of the Egypt, which was traditionally viewed as more closely related to the civilization of the Mediterranean than that of sub-Saharan Africa. Drusilla Dunjee Houston, in one of the earliest Afrocentric tomes, suggested that the Argonauts (and much of Greek myth) owed its origins to Ethiopia:

[We will discuss the] "Wonderful Ethiopians," who produced fadeless colors that have held their hues for thousands of years, who drilled through solid rock and were masters of many other lost arts and who many scientists believe must have understood electricity, who made metal figures that could move and speak and may have invented flying machines, for the "flying horse Pegasus" and the "ram of the golden fleece" may not have been mere fairy tales. [...] We seek for the place and the race that could have given the world the art of welding iron. The trail reveals that the land of the "Golden Fleece" and the garden of the "Golden Apples of Hesperides" were but centers of the ancient race, that as Cushite Ethiopians had extended themselves over the world.

Source: Drusilla Dunjee Houston, Wonderful Ethiopians of the Cushite Empire (Oklahoma City: Universal Publishing, 1926), 4-6.

West Africa

A theory even less connected to observable fact sprang from the pen of Robert Temple, an independent scholar, who became convinced that extraterrestrials had visited earth in ancient times and were responsible for imparting the arts of civilization to humanity. In his Sirius Mystery (1976, revised 1998), Temple explains that Jason and the Argonauts are Greek code for an esoteric secret first recorded in the Epic of Gilgamesh wherein amphibious frogs from a planet orbiting Sirius encoded in myth astronomical secrets about the fifty earth years it takes the two stars of the Sirius system (Sirius A and B) to complete an orbital cycle. Thus the fifty oars of the Argo represent the fifty years of Sirius B's orbit. Why space frogs should count time in earth years is not explained. (Read more about Temple's misuse of the Argonaut myth in my free eBook, Golden Fleeced.)

He then goes on to suggest that the Argonauts were real people who, in the course of their portage of the Argo across North Africa, gave rise to the Dogon tribe of West Africa by, essentially, fathering lots of children wheresoever they passed. The Dogon, he believed, were descendants of the Greek descendants of the Argonauts, driven south into the heart of West Africa over the course of centuries of invasions from the north. His evidence for this was that Robert Graves, the poet, had suggested in his faulty Greek Myths (1955) that the Dogon's neighbors were related to the pre-Greek population of Greece once upon a time. Specifically, this is what Graves wrote:

The Akan people result from an ancient southward emigration of Uyo-Berbers—cousins to the pre-Hellenic population of Greece—from the Sahara desert oases and their intermarriage at Timbuctoo with Niger River negroes. In the eleventh century A.D. they moved still farther south to what is now Ghana.

Source: Robert Graves, The Greek Myths (New York: Penguin, 1955), 22.

This does not seem the same as saying that the Dogon claimed to be the children of the Argonauts, but rather that they were neighbors to people related to the people the Greeks pushed out ages ago (which isn't true anyway, according to more recent research).

Temple then ties all this together by agreeing with generations of earlier speculators that the Argo was synonymous with Noah's Ark and that both derived from an Egyptian original (uniquely, he believes this to a linguistic pun referring to the "end of things," the end of Sirius B's fifty-year orbit). He also believes Colchis was an Egyptian colony, and that the Argonaut saga therefore had close ties to Egypt. And, of course, that all of it was the result of information imparted by flying space frogs.”

#ancient greece #ancient egypt #jason and the argonauts #golden fleece #mythology #Greek Mythology #egyptian mythology #ethiopia #egyptology #osiris #typhon #sumerian mythology #egyptian #Greek #Ramses III #Dogon

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seeselfblack · 7 years ago

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Happy Earth Baba Dr. Ben...

Dr. Yosef Alfredo Antonio ben-Jochannan [A Special Tribute]

The Black Man of the Nile and His Family

Dr. Yosef Alfredo Antonio ben-Jochannan (Dr. Ben) was the preeminent "Multi-Genius of Our Time." Therefore, he cannot be defined nor scrutinized by western academic standards given the fact that he forever altered how classical African civilizations, in particular the Nile Valley, can be viewed and examined in colleges and throughout the global African community.

Furthermore, Dr. Ben’s contributions to academia and the global African community stand alone as he represents not the floor of our potential, but the ceiling in which we can rise to. We, the global African community, adulate Dr. Ben for his groundbreaking scholarship and unprecedented service. Moreover, we praise enthusiastically his great work and sacrifice along with his love for African people and the Nile Valley.

As such, when it comes to the study and understanding of the Nile Valley, no one had a greater impact on the minds and hearts of African people at a global and grand scale than Dr. Ben. As an exceptional thinker and prolific writer, Dr. Ben’s scholarship regarding the Nile Valley along with his service within the global African community is not only exemplary, but unmatched – exceeding all others in terms of scholarly influence, community based impact, and global outreach.

In regards to the African origin of western civilization and religion, Dr. Ben’s contribution to the production of knowledge is monumental as evident in his most celebrated and best-selling magna opera: The African Origins of the Major Western Religions (1970), Africa: Mother of Western Civilization (1971), The Black Man of the Nile and His Family (1972), and We, The Black Jews: Witness to the White Jewish Race Myth (1983). Lesser-known, but no less important texts include collaborations with his frequent associate Professor George E. Simmonds, The Black Man’s North and East Africa (1971) and Understanding the African Philosophical Concept Behind the ‘Diagram of the Law of Opposites (1975) with Evelyn Walker, Dorothy Lee Cobb and Calvin Birdsong. As a spirited public intellectual and iconoclast, Dr. Ben published nearly fifty books and manuscripts.

Undaunted, and with such scholarly publications, Dr. Ben singlehandedly transformed the epistemological and pedagogical landscape of Africana (Black) Studies programs by introducing us to the Nile Valley where he frequently stated that “we came from the beginning of the Nile where God Hapi dwells, at the foothills of the Mountains of the Moon.” Indeed, for Dr. Ben, the beginning started in the Nile Valley on December 31, 1918 at Gondar, Ethiopia where he was born to an Ethiopian father, Kriston ben-Jochannan and a Puerto Rican mother, Julia Matta.

Soon after his birth, Dr. Ben’s family moved to Puerto Rico and St. Croix. After graduating from high school, Dr. Ben further embraced his intellectual quest for knowledge by pursuing higher education and advanced learning. As a result, Dr. Ben upgraded the legal training programs and services in Puerto Rico. Moreover, his thirst for knowledge was fulfilled with his remarkable expeditions around the world.

Having already traveled extensively to the Nile Valley during the summers of his youth, Dr. Ben immigrated to the United States, where he worked as an architect/draftsman in New York.

However, following in his father’s footsteps and inspired by the struggles around safeguarding Ethiopia from the invasion of Italy, Dr. Ben initiated numerous study abroad programs to Ethiopia, Egypt, and the Sudan. This particular experience along with many others laid the foundation for Dr. Ben to become one of the world’s most distinguished public intellectuals / scholars who advanced the study of Nile Valley civilizations.

By continuing his father’s admonition to return to ancient Africa as the foundation for the study of his people, Dr. Ben sparked the study tour movement among Africans away from home that has now become commonplace for African-Americans and others. His study tours of the 1960s and 70s paved the way for Dr. Ben’s historic 1987 pilgrimage to the Nile Valley which was undertaken by Association for the Study of Classical African Civilizations (ASCAC) cofounded by Dr. Ben. Dr. Ben’s friend, Emmy Awards broadcaster Gil Noble recorded that pilgrimage for his television show “Like It Is,” and the video for that show has been seen by hundreds of thousands for whom it has become a virtual study tour of the Nile Valley.

As an authentic public intellectual and committed community activist, Dr. Ben skillfully integrated scholarship with service by bringing colleges to the community and the community to colleges. By coalescing scholarship and service, Dr. Ben warmly embraced academia and activism as he cheerfully steered both colleges and community to the Nile Valley where the God Hapi dwells. Dr. Ben, therefore, modeled institutional academic study and research with community activism until his transition on Thursday, March 18, 2015.

As an engaged scholar and involved activist, Dr. Ben, like his mentors Marcus Garvey and Malcolm X, lectured gratuitously to the masses of African people on the street corners of the United States and globally. Dr. Ben also secured teaching positions at Malcolm-King Harlem College, Marymount College, Pace University, Borough of Manhattan Community College, State University of New York at New Paltz, Temple University, Howard University, Cornell University and Al-Azhar University in Cairo.

In addition to his academic responsibilities, Dr. Ben lectured to clusters of Africans in forums as wide-ranging as corporate America, such as Bell Laboratories to the Shrine of the Black Madonna while influencing Pan-African culture-keepers Fela Kuti and Randy Weston. Whether at colleges or in the community, Dr. Ben became known for his no-holds-barred intellectualism and activism while generously embracing Black people wherever he found them. Dr. Ben also disseminated his knowledge through forums as diverse as the United Nations Educational, Scientific and Cultural Organization (UNESCO) and the Harlem Academy in New York City. Dr. Ben’s 1969 text, Africa, The Land, the People, the Culture marked his preeminent work on behalf of UNESCO.

As the first widely known African scholar to analyze the Abrahamic faith based traditions (Judaism, Christianity and Islam) and their origins, Dr. Ben judiciously debated scholars of all three religions and successfully traced the origins of western religions to the Nile Valley by way of primary sources. Dr. Ben’s scholarly publications, such as The African Origins of the Major Western Religions (1970), A Chronology of the Bible: A Challenge to the Standard Version (1973) and the trilogy: Our Black Seminarians and Black Clergy Without a Black Theology (1978), The Myth of Genesis and Exodus and the Exclusion of Their African Origins (1996), and The Need for a Black Bible (1996) serve to inform, inspire, and provoke generations of scholars.

The influence and presence of Dr. Ben are still felt with the likes of Dr. Leonard Jeffries, Dr. James Turner, Dr. Charles Finch, Dr. Wade Nobles, Dr. Maulana Karenga, Dr. Molefi Asante, award winning journalist Herb Boyd, Tony Browder, Ashra Kwesi, Runoko Rashidi, and Professor James Small. Dr. Ben also had a special influence on our female scholars, public intellectuals, and activists such as Dr. Rosalind Jeffries, Dr. Patricia Newton, Dr. Vera Nobles, Dr. Iva Carruthers, Dr. Marimba Ani, Dr. Adelaide Sanford, Dr. Joy DeGruy, Dr. Jewel Pookrum, Rkhty Amen, LaTrella Thornton, and Dr. Frances Cress Welsing. Furthermore, Dr. Ben has inspired a new generation of scholars, public intellectuals, and activists such as Bro. Reggie Mabry, Dr. Greg Carr, Dr. Mario Beatty, Nayaba Arinde, Manbo Asogwe Dòwòti Désir, and Professor Patrick Delices among countless others. Additionally, a special acknowledgment is extended to Dr. Georgina Falu who was also inspired by Dr. Ben and took it upon herself to translate three of Dr. Ben’s major books into Spanish while lecturing throughout Latin America on the contents of Dr. Ben’s works.

Dr. Ben is therefore recognized as the last of the great Black history scholars, public intellectuals, and activists which include the late Dr. John Henrik Clarke, Dr. Edward Scobie, Dr. Ivan Van Sertima, Dr. Charshee McIntyre, Dr. Jacob Carruthers, Dr. Richard King, Dr. Asa Hilliard, Dr. Amos Wilson, Steve Cokely, and Dr. Khalid Muhammad.

Dr. Ben’s service to the community is seen by his collaboration and partnership with Minister Louis Farrakhan, Reverend Al Sharpton, and Attorney Alton Maddox. Dr. Ben also worked closely with local community leaders and elders including Sybil Williams Clarke and Drs. Mary and Arthur Lewis in addition to the masses of African people at home and abroad.

Dr. Ben founded, cofounded, and inspired several organizations and institutions including the Africana Studies Department at the City College of New York, the African Nationalist in America [ANIA], the First World Alliance, ASCAC, the Blue Nile, the Board for the Education of People of African Ancestry, and countless others. In one of his most impactful efforts to build and sustain public spaces for African people to learn, debate and share widely the knowledge of our history and culture, Dr. Ben partnered with Bill Jones, Sister Khefa Nephtys and other Pan-African scholars and activists in New York City to initiate the First World Alliance in Harlem. The First World Alliance became one of the country’s oldest and most influential lecture forums devoted to the study of classical Africans civilizations along with the global African presence. First World’s platform hosted hundreds of scholars from the global African community - always beginning its annual lecture series with Drs. Ben and Clarke, as well as their colleagues, Dr. Leonard Jeffries, Dr. Edward Scobie, and Professor James Small.

Dr. Ben also held various pertinent executive positions at several premier organizations, schools, educational / non-profit boards, and cultural institutions. Dr. Ben's special passion was to create a Brotherhood, "The CRAFT" which would reflect the ancient sacred traditions and teachings of the Nile Valley.

In creating his own publishing company, Alkebu-lan Book Associates with his colleague George Simmonds, Dr. Ben joined Dr. Carter G. Woodson, Joel Augustus Rogers and later, Paul Coates and Haki Madhubuti in establishing independent publishing platforms for African thinkers and public intellectuals to advance their ideas and produce knowledge. His company’s distinct texts along with their colorful cardstock covers and unmistakable combination of typeset, maps, reproduced images, ephemera, and intermittent handwritten interjections created a new style of writing that was uniquely Dr. Ben’s.

As a pioneer in the field of Africana (Black) Studies and Egyptology, Dr. Ben, like his colleague and dear friend John Henrik Clarke, produced numerous curricula, lesson plans and countless professional development seminars for educators and activists to enhance the teaching of African history and culture at colleges and in the community. Dr. Ben’s publications on curriculum range from the Cultural Genocide in the Black and African Studies Curriculum (1975) to a study guide he coauthored with Dr. Clarke, which was published for the 1972 Congress of African People in African Congress: A Documentary of the First Modern Pan-African Congress. Moreover, in 1986, his lectures in London with Dr. Clarke, New Dimensions in African History: From the Nile Valley to the New World (1991) now serves as the most influential text and study guide for the teaching of global African history.

Dr. Ben’s lectures are thought-provoking and powerful, especially when examining the relationship between Black women and men – often using what appeared to be an intentionally provocative statement to simply enter a discussion of the centrality of the Black women to African life, cosmology, culture, and societies.

Ultimately, Dr. Ben’s life cannot be fully summarized in this literary tribute to him. However, Dr. Ben’s greatness can be summarized as the “Gift” that keeps on “Giving” for future African generations. In a way, Dr. Ben wrote his own epitaph in his books, manuscripts, lectures, and thousands of hours spent teaching us. Therefore, from this time forth to eternity, Dr. Ben is still teaching us, not at the colleges or in the community, but over the ancestral arc, that we came from the beginning of the Nile at the foothills of the mountains of the moon where the God Hapi dwells with our beloved Dr. Ben.

This tribute statement to Dr. Ben’s life and legacy is a written and research collaboration among Dr. Leonard Jeffries, Professor James Small, Dr. Georgina Falu, Dr. Greg Carr, Dr. Mario Beatty, ASCAC’s Board of Directors, Bro. Reggie Mabry, and Professor Patrick Delices.

Professor Patrick Delices is a political analyst/commentator for the Black Star News and the author of “The Digital Economy,” Journal of International Affairs. For nearly a decade, Prof. Delices has taught Africana Studies at Hunter College. He also served as a research fellow for the late Pulitzer Prize recipient, Dr. Manning Marable at Columbia University. Prof. Delices can be contacted at [email protected]

Via Black Star News

Also see:

- African American Registry

- Dr. Ben -- Black Jewish Historian

- The Nile Valley Civilization and the Spread of African Culture - PDF

#Dr. Ben #African History #Black History #Black Jewish Historian #Dr. Leonard Jeffries #James small #Dr. Georgina Falu #Black Star News

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all-my-books · 7 years ago

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2017 Reading

262 books read. 60% of new reads Non-fiction, authors from 55 unique countries, 35% of authors read from countries other than USA, UK, Canada, and Australia. Asterisks denote re-reads, bolds are favorites. January: The Deeds of the Disturber – Elizabeth Peters The Wiregrass – Pam Webber Homegoing – Yaa Gyasi It Didn't Start With You – Mark Wolynn Facing the Lion – Joseph Lemasolai Lekuton Before We Visit the Goddess – Chitra Divakaruni Colored People – Henry Louis Gates Jr. My Khyber Marriage – Morag Murray Abdullah Miss Bianca in the Salt Mines – Margery Sharp Farewell to the East End – Jennifer Worth Fire and Air – Erik Vlaminck My Grandfather Would Have Shot Me – Jennifer Teege Catherine the Great – Robert K Massie My Mother's Sabbath Days – Chaim Grade Not the Israel My Parents Promised Me – Harvey Pekar, JT Waldman The Readers of Broken Wheel Recommend – Katarina Bivald Stammered Songbook – Erwin Mortier Savushun – Simin Daneshvar The Prophet – Kahlil Gibran Beyond the Walls – Nazim Hikmet The Dressmaker of Khair Khana – Gayle Tzemach Lemmon A Day No Pigs Would Die – Robert Newton Peck *

February: Bone Black – bell hooks Special Exits – Joyce Farmer Reading Like a Writer – Francine Prose Bright Dead Things – Ada Limon Middlemarch – George Eliot Confessions of an English Opium Eater – Thomas de Quincey Medusa's Gaze – Marina Belozerskaya Child of the Prophecy – Juliet Marillier * The File on H – Ismail Kadare The Motorcycle Diaries – Ernesto Che Guevara Passing – Nella Larsen Whose Body? - Dorothy L. Sayers The Spiral Staircase – Karen Armstrong Station Eleven – Emily St. John Mandel Reading Lolita in Tehran – Azar Nafisi Defiance – Nechama Tec

March: Yes, Chef – Marcus Samuelsson Discontent and its Civilizations – Mohsin Hamid The Gulag Archipelago Vol. 1 – Aleksandr Solzhenitsyn Patience and Sarah – Isabel Miller Dying Light in Corduba – Lindsey Davis * Five Days at Memorial – Sheri Fink A Man Called Ove – Fredrik Backman * The Shia Revival – Vali Nasr Girt – David Hunt Half Magic – Edward Eager * Dreams of Joy – Lisa See * Too Pretty to Live – Dennis Brooks West with the Night – Beryl Markham Little Fuzzy – H. Beam Piper *

April: Defying Hitler – Sebastian Haffner Monsters in Appalachia – Sheryl Monks Sorcerer to the Crown – Zen Cho The Man Without a Face – Masha Gessen Peace is Every Step – Thich Nhat Hanh Flory – Flory van Beek Why Soccer Matters – Pele The Zhivago Affair – Peter Finn, Petra Couvee The Stories of Breece D'J Pancake – Breece Pancake The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared – Jonas Jonasson Chasing Utopia – Nikki Giovanni The Invisible Bridge – Julie Orringer * Young Adults – Daniel Pinkwater Jonathan Swift: The Reluctant Rebel – John Stubbs Black Gun, Silver Star – Art T. Burton The Arab of the Future 2 – Riad Sattouf Hole in the Heart – Henny Beaumont MASH – Richard Hooker Forgotten Ally – Rana Mitter Zorro – Isabel Allende Flying Couch – Amy Kurzweil

May: The Bite of the Mango – Mariatu Kamara Mystic and Rider – Sharon Shinn * Freedom is a Constant Struggle – Angela Davis Capture – David A. Kessler Poor Cow – Nell Dunn My Father's Dragon – Ruth Stiles Gannett * Elmer and the Dragon – Ruth Stiles Gannett * The Dragons of Blueland – Ruth Stiles Gannett * Hetty Feather – Jacqueline Wilson In the Shadow of the Banyan – Vaddey Ratner The Last Camel Died at Noon – Elizabeth Peters Cannibalism – Bill Schutt The Handmaid's Tale – Margaret Atwood A Fine Balance – Rohinton Mistry The Food of a Younger Land – Mark Kurlansky Behold the Dreamers – Imbolo Mbue Words on the Move – John McWhorter John Ransom's Diary: Andersonville – John Ransom Such a Lovely Little War – Marcelino Truong Child of All Nations – Irmgard Keun One Child – Mei Fong Country of Red Azaleas – Domnica Radulescu Between Two Worlds – Zainab Salbi Malinche – Julia Esquivel A Lucky Child – Thomas Buergenthal The Drackenberg Adventure – Lloyd Alexander Say You're One of Them – Uwem Akpan William Wells Brown – Ezra Greenspan

June: Partners In Crime – Agatha Christie The Chinese in America – Iris Chang The Great Escape – Kati Marton As Texas Goes... – Gail Collins Pavilion of Women – Pearl S. Buck Classic Chinese Stories – Lu Xun The Return of the Soldier – Rebecca West The Slave Across the Street – Theresa Flores Miss Bianca in the Orient – Margery Sharp Boy Erased – Garrard Conley How to Be a Dictator – Mikal Hem A Thousand Splendid Suns – Khaled Hosseini Tears of the Desert – Halima Bashir The Death and Life of Great American Cities – Jane Jacobs The First Salute – Barbara Tuchman Come as You Are – Emily Nagoski The Want-Ad Killer – Ann Rule The Gulag Archipelago Vol 2 – Aleksandr Solzhenitsyn

July: Dorothy and the Wizard in Oz – L. Frank Baum * The Blazing World – Margaret Cavendish Madonna in a Fur Coat – Sabahattin Ali Duende – tracy k. smith The ACB With Honora Lee – Kate de Goldi Mountains of the Pharaohs – Zahi Hawass Anna Karenina – Leo Tolstoy Chronicle of a Last Summer – Yasmine el Rashidi Killers of the Flower Moon – David Grann Mister Monday – Garth Nix * Leaving Yuba City – Chitra Banerjee Divakaruni The Silk Roads – Peter Frankopan The Hitchhiker's Guide to the Galaxy – Douglas Adams A Corner of White – Jaclyn Moriarty * Circling the Sun – Paula McLain Lies and the Lying Liars Who Tell Them – Al Franken Believe Me – Eddie Izzard The Cracks in the Kingdom – Jaclyn Moriarty * Fried Green Tomatoes at the Whistle Stop Cafe – Fannie Flagg * One Hundred and One Days – Asne Seierstad Grim Tuesday – Garth Nix * The Vanishing Velasquez – Laura Cumming Four Against the Arctic – David Roberts The Marriage Bureau – Penrose Halson The Jesuit and the Skull – Amir D Aczel Drowned Wednesday – Garth Nix * Roots, Radicals, and Rockers – Billy Bragg A Tangle of Gold – Jaclyn Moriarty * Lydia, Queen of Palestine – Uri Orlev *

August: Sir Thursday – Garth Nix * The Hoboken Chicken Emergency – Daniel Pinkwater * Lady Friday – Garth Nix * Freddy and the Perilous Adventure – Walter R. Brooks * Venice – Jan Morris China's Long March – Jean Fritz Trials of the Earth – Mary Mann Hamilton The Bully Pulpit – Doris Kearns Goodwin Final Exit – Derek Humphry The Book of Emma Reyes – Emma Reyes Freddy the Politician – Walter R. Brooks * Dragonflight – Anne McCaffrey * What the Witch Left – Ruth Chew All Passion Spent – Vita Sackville-West The Picture of Dorian Gray – Oscar Wilde The Curse of the Blue Figurine – John Bellairs * When They Severed Earth From Sky – Elizabeth Wayland Barber Superior Saturday – Garth Nix * The Boston Girl – Anita Diamant The Mummy, The Will, and the Crypt – John Bellairs * Are We Smart Enough to Know How Smart Animals Are? - Frans de Waal The Philadelphia Adventure – Lloyd Alexander * Lord Sunday – Garth Nix * The Spell of the Sorcerer's Skull – John Bellairs * Five Little Pigs – Agatha Christie * Love in Vain – JM Dupont, Mezzo A Little History of the World – EH Gombrich Last Things – Marissa Moss Imagine Wanting Only This – Kristen Radtke Dinosaur Empire – Abby Howard The Amazing Maurice and his Educated Rodents – Terry Pratchett *

September: First Bite by Bee Wilson The Xanadu Adventure by Lloyd Alexander Orientalism – Edward Said The Lost Crown of Genghis Khan – Carl Barks The Island on Bird Street – Uri Orlev * The Indifferent Stars Above – Daniel James Brown Beneath the Lion's Gaze – Maaza Mengiste The Importance of Being Earnest – Oscar Wilde * The Book of Five Rings – Miyamoto Musashi The Drunken Botanist – Amy Stewart The Turtle of Oman – Naomi Shahib Nye The Alleluia Files – Sharon Shinn * Gut Feelings – Gerd Gigerenzer The Secret of Hondorica – Carl Barks Don't Let's Go to the Dogs Tonight – Alexandra Fuller The Abominable Mr. Seabrook – Joe Ollmann Black Flags – Joby Warrick

October: Fear – Thich Nhat Hanh Fall Down 7 Times Get Up 8 – Naoki Higashida To the Bright Edge of the World – Eowyn Ivey Why? - Mario Livio Just One Damned Thing After Another – Jodi Taylor The Yellow Wallpaper – Charlotte Perkins Gilman Blindness – Jose Saramago The Book Thieves – Anders Rydell Reality is not What it Seems – Carlo Rovelli Cranford – Elizabeth Gaskell * The Witch Family – Eleanor Estes * Sister Mine – Nalo Hopkinson La Vagabonde – Colette Becoming Nicole – Amy Ellis Nutt

November: The Golden Notebook – Doris Lessing The Children's Book – A.S. Byatt The Fire Next Time – James Baldwin Under the Udala Trees – Chinelo Okparanta Who Killed These Girls? – Beverly Lowry Running for my Life – Lopez Lmong Radium Girls – Kate Moore News of the World – Paulette Jiles The Red Pony – John Steinbeck The Edible History of Humanity – Tom Standage A Woman in Arabia – Gertrude Bell and Georgina Howell Founding Gardeners – Andrea Wulf Anatomy of a Disapperance – Hisham Matar The Book of Night Women – Marlon James Ground Zero – Kevin J. Anderson * Acorna – Anne McCaffrey and Margaret Ball * A Girl Named Zippy – Haven Kimmel * The Age of the Vikings – Anders Winroth The Spanish Civil War: A Very Short Introduction – Helen Graham A General History of the Pyrates – Captain Charles Johnson (suspected Nathaniel Mist) Clouds of Witness – Dorothy L. Sayers * The Lonely City – Olivia Laing No Time for Tears – Judy Heath

December: The Unwomanly Face of War – Svetlana Alexievich Gay-Neck - Dhan Gopal Mukerji The Tea Girl of Hummingbird Lane – Lisa See Get Well Soon – Jennifer Wright The Testament of Mary – Colm Toibin The Roman Way – Edith Hamilton Understood Betsy – Dorothy Canfield Fisher * The Four Horsemen of the Apocalypse - Vicente Blasco Ibanez Mrs. Frisby and the Rats of NIMH – Robert C. O'Brien SPQR – Mary Beard Ballet Shoes – Noel Streatfeild * Hogfather – Terry Pratchett * The Sorrow of War – Bao Ninh Drowned Hopes – Donald E. Westlake * Selected Essays – Michel de Montaigne Vietnam – Stanley Karnow The Snake, The Crocodile, and the Dog – Elizabeth Peters Guests of the Sheik – Elizabetha Warnok Fernea Stone Butch Blues – Leslie Feinberg Wicked Plants – Amy Stewart Life in a Medieval City – Joseph and Frances Gies Under the Sea Wind – Rachel Carson The Red Virgin and the Vision of Utopia – Mary and Brian Talbot Brat Farrar – Josephine Tey * The Treasure of the Ten Avatars – Don Rosa Escape From Forbidden Valley – Don Rosa Nightwood – Djuna Barnes Here Comes the Sun – Nicole Dennis-Benn Over My Dead Body – Rex Stout *

#books #reading #2017

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antisemitism-us · 8 years ago

Link

Pro-Israel figures will “infest” President-elect Donald Trump’s administration, a Palestinian-American Columbia University professor and notorious critic of the Jewish state declared on Tuesday.

“There are a group of people, a lot of them in Israel and some of them in the United States, who live in a world of their own,” Rashid Khalidi — the Edward Said professor of Modern Arab Studies at Columbia — stated during an interview aired by Chicago’s WBEZ 91.5 public radio station. “That is to say, they think that whatever they want and whatever cockamamie schemes they can cook up can be substituted for reality.”

“So they have a vision whereby the occupied territories aren’t occupied,” Rashidi continued. “They have a vision whereby there is no such thing as the Palestinians. They have a vision whereby international law doesn’t exist. They have a vision whereby the United States can unilaterally cancel a decision of the United Nations. And unfortunately these people infest the Trump transition team, these people are going to infest our government as of January 20th. And they are hand in glove with a similar group of people in the Israeli government and in Israeli political life who think that whatever they think can be imposed on reality.”

“Well they will live in that little bubble for as long as the Trump administration is here, but there’s going to be a rude shock awaiting them, because most Americans don’t feel that way,” Khalidi claimed.

#antisemitism #united states

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tuseriesdetv · 6 years ago

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Noticias de series de la semana: Las dos amigas de HBO

Renovaciones

HBO y Rai han renovado My Brilliant Friend por una segunda temporada

NBC ha renovado The Good Place por una segunda temporada

Netflix ha renovado Narcos: Mexico por una segunda temporada

Audience Network ha renovado Loudermilk por una tercera temporada

Sky Alemania ha renovado Das Boot por una segunda temporada

Cancelaciones

BET ha cancelado Hit the Floor tras su cuarta temporada

Noticias cortas

La segunda temporada de You no se emitirá en Lifetime, irá directamente a Netflix.

The CW desarrolla un spin-off de Jane the Virgin. Sería una antología con historias inspiradas en las novelas de Jane (Gina Rodriguez). No aparecería ningún personaje de la original.

NBC ha encargado dos episodios más para Chicago PD, Chicago Med y Chicago Fire, haciendo un total de veintidós en sus temporadas actuales.

El servicio de streaming de Disney prepara Sister Act 3.

Incorporaciones y fichajes

Katey Sagal (Sons of Anarchy, Married with Children) y Freddie Stroma (UnREAL, Game of Thrones) se unen como recurrentes a Grand Hotel. Serán Teresa, una inversora del hotel con intenciones desconocidas; y Oliver, manager asociado de Miami.

Andie MacDowell (Four Weddings and a Funeral, Groundhog Day) protagonizará la quinta temporada de Cuckoo sustituyendo a Taylor Lautner (Dale). Será Ivy, la hermana que Ken (Greg Davies) no sabía que tenía.

John Cho (The Exorcist, Sleepy Hollow), Allison Tolman (Fargo, Castle Rock) y Jacob Tremblay (Room, Wonder) protagonizarán un episodio de The Twilight Zone.

James Norton (McMafia, Happy Valley), Ellie Bamber (Nocturnal Animals, The Nutcracker and the Four Realms), Ben Miles (The Crown, The Last Post), Emilia Fox (The Wrong Mans, The Tunnel), Nathan Stewart-Jarrett (Utopia, Famous in Love) y Anthony Welsh (Fleabag, Pure) protagonizarán The Trial of Christine Keeler junto a Sophie Cookson. Serán Stephen Ward, Mandy Rice-Davies, John Profumo, Valerie Profumo, Johnny Edgecombe y Aloysius 'Lucky' Gordon.

Stanley Tucci (Feud, The Hunger Games), Marlee Matlin (The L Word, Switched at Birth), Kelly Jenrette (Grandfathered, The Handmaid's Tale), John Beasley (Everwood, Treme) y Louis Ferreira (Motive, Travelers) se unen a Limetown junto a Jessica Biel.

Tom Mison (Sleepy Hollow), Tommy Dewey (Casual, The Mindy Project) y Ashley Madekwe (Salem, Revenge) se unen como recurrentes a Four Weddings and a Funeral.

January Jones (Mad Men, The Last Man on Earth) se une a The Politician. Interpretará a la esposa del personaje de Dylan McDermott.

Jessica Meraz (Major Crimes, Chasing Life) será recurrente en la cuarta temporada de Supergirl como Pamela Ferrer AKA Menagerie, villana miembro de la Élite de Manchester Black (David Ajala).

Annie Chang (Shades of Blue) se une como regular a The Wrong Mans. Será Katie, la jefa y exnovia de Josh (Ben Schwartz).

Desmond Chiam (The Shannara Chronicles) será Jake Wyatt, un detective de la isla que trabajará con Cat (Poppy Montgomery), en Reef Break.

Coral Peña (24: Legacy, The Post) será recurrente en The Enemy Within como Anna Cruz, analista de la CIA reclutada por Will Keaton (Morris Chestnut).

Hailey Kilgore (Once On This Island) se une como recurrente a The Village. Se desconocen detalles.

Lauren London (The Game, Single Ladies), Parker McKenna Posey (My Wife and Kids) y Karen Obilom protagonizarán Games Divas Play. Serán la esposa de un jugador de baloncesto, una tenaz periodista y una escandalosa groupie.

Toby Kebbell (RocknRolla, A Monster Calls) se una a la serie de M. Night Shyamalan para Apple. Será Sean, marido de Dorothy (Lauren Ambrose).

Austin Stowell (Whiplash, Colossal), Edward Burns (Public Morals, Saving Private Ryan) y Kerry Bishé (Halt and Catch Fire, Narcos) protagonizarán un episodio de Amazing Stories.

Polly Walker (Line of Duty, Roma) será recurrente en Pennyworth como Peggy Sykes, hermana de Bet Sykes (Paloma Faith).

Joe Cole (Peaky Blinders, Pure), Sope Dirisu (Humans, The Halcyon), Michelle Fairley (Game of Thrones, Fortitude), Lucian Msamati (Black Earth Rising, Taboo), Mark Lewis Jones (Stella, National Treasure), Narges Rashidi (The Girlfriend Experience), Jing Lusi (Zapped, Lucky Man), Pippa Bennett-Warner (Harlots, Sick Note), Brian Vernel (The Tunnel, The Casual Vacancy), Orli Shuka, Richard Harrington (Poldark, Requiem), Jude Akuwudike (Fortitude, The A Word) y Emmett J Scanlan (The Fall, In the Flesh) protagonizarán Gangs of London.

Charlotte Hope (Game of Thrones, Allied), David Avery (Strike, Troy: Fall of a City) y Jacqueline Boatswain (Collateral, Cuckoo) se unen a la segunda temporada de Bancroft.

Pósters

Nuevas series

Issa Rae (Insecure) y Laura Dern (Big Little Lies, The Tale) protagonizarán y producirán The Dolls, una miniserie de HBO sobre los disturbios y peleas en dos pueblos de Arkansas en la Nochebuena de 1983 por conseguir muñecas Cabbage Patch Kids. Escrita por Rae junto a Laura Kittrell y Amy Aniobi, del equipo de Insecure.

Apple estaría a punto de encargar ocho episodios del remake de la israelí Nevelot. Será un drama protagonizado por Richard Gere (Chicago, Pretty Woman) y escrito por Howard Gordon (Homeland, The X-Files) en la que la vida de dos veteranos de Vietnam y mejores amigos se vuelve del revés cuando la mujer que amaron hace cincuenta años muere atropellada.

Apple ha encargado el drama Swagger, basado en la juventud del jugador de baloncesto Kevin Durant. Escrita, dirigida y producida por Reggie Rock Bythewood (Shots Fired, Players). Producida por Durant.

HBO ha encargado The Outsider, adaptación de la novela de Stephen King (2018) en la que una simple investigación de asesinato lleva a un policía y a un investigador a cuestionarse qué es real, ya que una malvada fuerza sobrenatural interviene en el caso. Protagonizada y producida por Ben Mendelsohn (Bloodline, Rogue One). Dirigida y producida por Jason Bateman (Ozark).

Fechas

The ABC Murders se estrena en BBC One el 26 de diciembre

La tercera temporada de Delicious se estrena en Sky One el 28 de diciembre

Les Misérables se estrena en BBC One el 30 de diciembre

La quinta temporada de Luther se estrena en BBC One el 1 de enero

La quinta temporada de Cuckoo se estrena en BBC Three el 4 de enero

Sex Education llega a Netflix el 11 de enero

La quinta temporada de Grace and Frankie llega a Netflix el 18 de enero

Miracle Workers se estrena en TBS el 12 de febrero

La segunda temporada de American Gods se estrena en Starz el 10 de marzo

Tráilers

Game of Thrones - Temporada 8 y última

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The Umbrella Academy

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Les Misérables

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Flack

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Miracle Workers

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The ABC Murders

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The Blacklist - Temporada 6

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#series tv #television

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madamlaydebug · 3 years ago

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Go well … you have fulfilled your purpose 💕https://www.patreon.com/RunokoRashidi

RUNOKO RASHIDI

Runoko Rashidi is an anthropologist and historian with a major focus on what he calls the Global African Presence--that is, Africans outside of Africa before and after enslavement. He is the author or editor of twenty-two books, the most recent of which are My Global Journeys in Search of the African Presence, Assata-Garvey and Me: A Global African Journey for Children in 2017 and The Black Image in Antiquityin 2019. His other works include Black Star: The African Presence in Early Europe, published by Books of Africa in London in November 2011 and African Star over Asia: The Black Presence in the East, published by Books of Africa in London in November 2012 and revised and reprinted in April 2013, Uncovering the African Past: The Ivan Van Sertima Papers, published by Books of Africa in 2015. His other works include the African Presence in Early Asia, co-edited by Dr. Ivan Van Sertima. Four of Runoko's works have been published in French.

As a traveler and researcher Dr. Rashidi has visited 124countries. As a lecturer and presenter, he has spoken insixty-sevencountries.

Runoko has worked with and under some of the most distinguished scholars of the past half-century, including Ivan Van Sertima, John Henrik Clarke, Asa G. Hilliard, Edward Scobie, John G. Jackson, Jan Carew and Yosef ben-Jochannan.

In October 1987 Rashidi inaugurated the First All-India Dalit Writer's Conference in Hyderabad, India.

In 1999 he was the major keynote speaker at the International Reunion of the African Family in Latin America in Barlovento, Venezuela.

In 2005 Rashidi was awarded an Honorary Doctorate degree, his first, by the Amen-Ra Theological Seminary in Los Angeles.

In August 2010 he was first keynote speaker at the First Global Black Nationalities Conference in Osogbo, Nigeria.

In December 2010 he was President and first speaker at the Diaspora Forum at the FESMAN Conference in Dakar, Senegal.

In 2018 he was named Traveling Ambassador to the Universal Negro Improvement Association & African Communities League RC 2020.

In 2020 he was named to the Curatorial and Academic boards of the Pan-African Heritage Museum.

He is currently doing major research on the African presence in the museums of the world.

As a tour leader he has taken groups to India, Australia, Fiji, Turkey, Jordan, Brazil, Egypt, Ghana, Togo, Benin, France, Belgium, England, Cote d'Ivoire, Namibia, Ethiopia, Kenya, Mexico, Guatemala, Belize, Peru, Cuba, Luxembourg, Germany, Cameroon, the Netherlands, Spain, Morocco, Senegal, the Gambia,Guinea-Bissau,Vietnam, Cambodia, Thailand and Myanmar.

Runoko Rashidi's major mission in life is the uplift of African people, those at home and those abroad.

For more information write to [email protected] or call (323) 803-8663.

His web site is www.drrunoko.com

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aniekanekah · 7 years ago

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OFFICIAL: Odey Completes FC Zurich Switch From MFM FC

By Johnny Edward:

MFM FC striker Stephen Odey has finally completed his move to Swiss side, FC Zurich after his International Transfer Certificate was released, Completesportsnigeria.com has been informed.‎

Odey signed a four year deal with the club and becomes the third Nigerian player to feature for FC Zurich after Ike Shorunmu and the late Rashidi Yekini.

“It’s official now Odey has finally…

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#Nigeria sports #Sports #world sports

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shanghai-dublin-blog1 · 8 years ago

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Locating Advice On Indispensable Criteria Of Game Fishing Equipment

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The community is full of anglers from around the State of Washington, who to any flat, smooth surface. Lining/Trim:khaki & and more to protect both you're fishing tackle and your latest score. Big game fishermen will love our selection of gaff hooks for helping to haul in your captains and top game fishermen our gear is proven to be top performing. Baker Curved Stainless Steel Forceps, 6” Curved tip for getting into hard to reach places Great for pulling out Crawdad, Minnow Trap. Angler's Choice Mini-T Knife Sharpener Crossed and ceramic-coated has been used to catch them all including numerous branders and line class records. Angler's Choice Econ Pliers The Black Magic and Wasabi range of tackle · great for crawfish and small minnows. Box is marked Seiko's with a faded marker, lure eyes Attachment hole lets you add it to a key ring New! Item scales, fish file, scissors, line spooler, and lots more. Non-commercial use account or the site? Manufacture Part of stainless steel with gold finger loops Narrow point makes for a tight grip New! Rapala Magnetic Tool Holder Strong used, or use more general words. Whether you're fishing with live bait, tackle, or nets, you are “mad keen” or just like to get out when you can.

"Look who stopped by shootaround today." Photo: Twitter/@Spurs Image 2 of 12 From fishing to attending Maroon 5 concerts, Tim Duncan has been spotted living the good, retired life around San Antonio. Here's what The Big Fundamental has been up to since he retired last summer. From fishing to attending Maroon 5 concerts, Tim Duncan has been spotted living the good, retired life around San Antonio. Here's what The Big Fundamental has been up to since he retired last summer. Photo: Instagram Image 3 of 12 Tim Duncan slipped into a white cutoff T-shirt and camo shorts to kickoff his retirement at a San Antonio-area lake in July. "Only a real friend could pretend that bair fish was a prize catch," Duncan's lifelong best friend Rashidi Clenance said in a post. less Tim Duncan slipped into a white cutoff T-shirt and camo shorts to kickoff his retirement at a San Antonio-area lake in July. "Only a real friend could pretend that bair fish was a prize catch," Duncan's ... more Image 4 of 12 He had a baby girl named "Quill" with longtime girlfriend Vanessa Macias. He had a baby girl named "Quill" with longtime girlfriend Vanessa Macias. Photo: Edward A. Ornelas, Staff / San Antonio Express-News Image 5 of 12 H-E-B opted to include him in the latest installment of its popular commercial series starring the Spurs and said the company plans to continue its partnership with the former power forward. H-E-B opted to include him in the latest installment of its popular commercial series starring the Spurs and said the company plans to continue its partnership with the former power forward. Photo: H-E-B Image 6 of 12 Months after his retirement, Tim Duncan headed to the Spurs' practice facility to get some work in. At one point he decided to engage Gasol in a game of one-on-one.

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Spring Chinook season will open in Hells Canyon on April 22 from the Dug Bar boat ramp to the boundary below Hells Canyon Dam. Snake River spring Chinook are currently making their way up the Columbia River headed for Hells Canyon. While we dont expect these fish to arrive for a few weeks, we want anglers to have access as soon as they do, said Jeff Yanke, ODFW fish biologist in Enterprise. This has been a popular opportunity in recent years and is a good chance to catch some springers close to home, he added. The daily bag limit is 4 spring Chinook per day with no more than 2 being adults over 24 inches. Anglers must stop fishing for salmon for the day when they have retained 4 salmon or 2 adult salmon, whichever comes first. Barbless hooks and a Columbia River Basin Endorsement are required when fishing for salmon, steelhead and sturgeon in the Snake River. All other 2017 sport fishing regulations apply. Due to limited access in this section, most anglers access this fishery below Hells Canyon Dam or by jet boat. Managers with the Oregon Department of Fish and Wildlife and Idaho Fish and Game expect a modest run of about 2,000 hatchery spring Chinook to return to Hells Canyon Dam.

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The Western Side Of Puntarenas, Is Where You'll Get The Opportunity To Wrestle With Roosterfish, Tuna, And Wahoo.

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You Can Expect To Catch Sailfish, Tuna, Wahoo, Tarpon And Snapper, Especially While You're Sailing In The Deep Waters Of The Keys.

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