Publisher's Synopsis
'An absorbingly creepy travelogue through the corridors, tunnels and basements of our most famous cultural repository. With Noah Angell as our guide, the British Museum becomes a haunted prison filled with imperial plunder and restless spirits clamouring for attention.' - Malcolm Gaskill, author of The Ruin Of All Witches
'Fascinating and illuminating' - Peter Ackroyd
'Brilliantly delicate, pointed, shivery... You could read it as a guide to which galleries to avoid - or to where the push for repatriation should be most urgent.' - Erin L. Thompson, professor of art crime at the City University of New York
'Achieves a near-impossible marriage between paranormal pop-culture, folklore and hauntology' - Roger Clarke, author of A Natural History of Ghosts
'A heady cocktail of history and folklore that leaves a haunting aftertaste... Spine-tingling' - Lindsey Fitzharris, New York Times bestselling author of The Facemaker
'A reader might well do as Angell did himself: come for the delicious ghost stories but stay for a complete takedown of the British Museum project.' The New Statesman
What if the British Museum isn't a carefully ordered cross section of history but is in instead a palatial trophy cabinet of colonial loot - swarming with volatile and errant spirits?
When artist and writer Noah Angell first heard murmurs of ghostly sightings at the British Museum he had to find out more. What started as a trickle soon became a deluge as staff old and new - from overnight security to respected curators - brought him testimonies of their supernatural encounters.
It became clear that the source of the disturbances was related to the Museum's contents - unquiet objects, holy plunder, and restless human remains protesting their enforced stay within the colonial collection's cabinets and deep underground vaults. According to those who have worked there, the institution is heaving with profound spectral disorder.
Ghosts of the British Museum fuses storytelling, folklore and history, digs deep into our imperial past and unmasks the world's oldest national museum as a site of ongoing conflict, where restless objects are held against their will.
It now appears that the objects are fighting back.
