to believe that it is the former class who see ghosts, or rather some of
them. The latter do not--though they share interest in them.

The artists are of the visualizing class and, in our more modern times,
it is the psychic who think in motion pictures, or at least in a
succession of still pictures.

However we explain the ghostly and supernatural, whether we give it
objective or merely subjective reality, neither explanation prevents the
non-psychic from being intensely interested in the visions of the
psychic.

Thus I am convinced that if we were all quite honest with ourselves,
whether we believe in or do not believe in ghosts, at least we are all
deeply interested in them. There is in this interest something that
makes all the world akin.

Who does not feel a suppressed start at the creaking of furniture in the
dark of night? Who has not felt a shiver of goose flesh, controlled only
by an effort of will? Who, in the dark, has not had the feeling of some
_thing_ behind him--and, in spite of his conscious reasoning, turned to
look?

If there be any who has not, it may be that to him ghost stories have no
fascination. Let him at least, however, be honest.

To every human being mystery appeals, be it that of the crime cases on
which a large part of yellow journalism is founded, or be it in the
cases of Dupin, of Le Coq, of Sherlock Holmes, of Arsene Lupin, of Craig
Kennedy, or a host of others of our fiction mystery characters. The