Ahs Cult Quotes

These enquiries of mine, then, clearly show that Heracles is an ancient god. So I think those Greeks did just right who established two kinds of cult for Heracles, in one of which they sacrifice to Heracles as an immortal god—Olympian Heracles, as he is known—while in the other they make offerings to him as a hero.

Ode to the Beloved’s Hips" Bells are they—shaped on the eighth day—silvered percussion in the morning—are the morning. Swing switch sway. Hold the day away a little longer, a little slower, a little easy. Call to me— I wanna rock, I-I wanna rock, I-I wanna rock right now—so to them I come—struck-dumb chime-blind, tolling with a throat full of Hosanna. How many hours bowed against this Infinity of Blessed Trinity? Communion of Pelvis, Sacrum, Femur. My mouth—terrible angel, ever-lasting novena, ecstatic devourer. O, the places I have laid them, knelt and scooped the amber—fast honey—from their openness— Ah Muzen Cab’s hidden Temple of Tulúm—licked smooth the sticky of her hip—heat-thrummed ossa coxae. Lambent slave to ilium and ischium—I never tire to shake this wild hive, split with thumb the sweet- dripped comb—hot hexagonal hole—dark diamond— to its nectar-dervished queen. Meanad tongue— come-drunk hum-tranced honey-puller—for her hips, I am—strummed-song and succubus. They are the sign: hip. And the cosign: a great book— the body’s Bible opened up to its Good News Gospel. Alleluias, Ave Marías, madre mías, ay yay yays, Ay Dios míos, and hip-hip-hooray. Cult of Coccyx. Culto de cadera. Oracle of Orgasm. Rorschach’s riddle: What do I see? Hips: Innominate bone. Wish bone. Orpheus bone. Transubstantiation bone—hips of bread, wine-whet thighs. Say the word and healed I shall be: Bone butterfly. Bone wings. Bone Ferris wheel. Bone basin bone throne bone lamp. Apparition in the bone grotto—6th mystery— slick rosary bead—Déme la gracia of a decade in this garden of carmine flower. Exile me to the enormous orchard of Alcinous—spiced fruit, laden-tree—Imparadise me. Because, God, I am guilty. I am sin-frenzied and full of teeth for pear upon apple upon fig. More than all that are your hips. They are a city. They are Kingdom— Troy, the hollowed horse, an army of desire— thirty soldiers in the belly, two in the mouth. Beloved, your hips are the war. At night your legs, love, are boulevards leading me beggared and hungry to your candy house, your baroque mansion. Even when I am late and the tables have been cleared, in the kitchen of your hips, let me eat cake. O, constellation of pelvic glide—every curve, a luster, a star. More infinite still, your hips are kosmic, are universe—galactic carousel of burning comets and Big Big Bangs. Millennium Falcon, let me be your Solo. O, hot planet, let me circumambulate. O, spiral galaxy, I am coming for your dark matter. Along las calles de tus muslos I wander— follow the parade of pulse like a drum line— descend into your Plaza del Toros— hands throbbing Miura bulls, dark Isleros. Your arched hips—ay, mi torera. Down the long corridor, your wet walls lead me like a traje de luces—all glitter, glowed. I am the animal born to rush your rich red muletas—each breath, each sigh, each groan, a hooked horn of want. My mouth at your inner thigh—here I must enter you—mi pobre Manolete—press and part you like a wound— make the crowd pounding in the grandstand of your iliac crest rise up in you and cheer.

Ah! you cliques of the city!—don’t you know you had forebears with handlebar mustaches, who came down to the river in the morning bearing masts and booms on their shoulders? who killed their own bulls with a mighty club? who made their own clothes and tilled their own earth? For a million of your clever fashionable phrases, would you exchange one single such accomplishment? I know I would—and Oh God but I’m just as futile as you are, you city vermin; I too am vermin, vermin trying to struggle back to manhood, with small success. Here is our second illuminative nugget, with no emotions this time: that the fear of the family album is pursuant to the city’s general fear of time and particularly of the past (“Oh the stupid Victorian 19th Century!” they keep crying, as though Victorianism were the whole sum of that great century). Fear of the past is in the city, thus a love, a frantic need of the present—with all the hedonistic overtones involved, the psychological doctrines of “alertness” and the so-called liberation of sexuality: in other words, giving the moment over to the dictates of sexuality (divorce is such a dictate) and leaving time, the future—which is to them equivalent to the past, as a moral factor rather than a hedonistic factor of the “pulsing present”—leaving the future to the dogs, childless marriages, or one-child “families,” broken-up families, and thus leaving the future of mankind and the race to the dogs: to the destruction at the hands of a society’s inward atom bomb of organic-familial-societal disintegration: in short, the end of a race, as in Rome. This fear of reaching back into the past, into lineality and tradition, and of extending similarly forward into the future, is like a plant drying up, dying. Where I say this, they speak of the “reality of the moment” and the danger of suppressing the urges of the moment for any reason—but I find good reason if it is to spell the continuation of our own cultural mankind. Perhaps that’s what they don’t want, like children who resent all brothers and sisters burgeoning in their mother’s womb, resenting the future after them, feeling they should be the last, final men, that none must follow—a childish emotion. But to give oneself over to childish emotions is the aim of these city intellectuals, they abstrusely find much to “scientifically” substantiate this desire in the cult of psychoanalysis and its sub-cults, the Orgone “Institute” for one splendid example, and so they go ahead blithely, and I am not the one to oppose their concepts, their march off the ship’s plank—since I am marching to a plank of my own, since I do not wish to be reviled as a neurotic and an atavistic neo-fascist, since the other night, when mentioning these objections of mine, a city intellectual had apoplexy right before me. Oh

Well, one possibility is that this was some evil society dedicated to the service of one of the Professor’s elder beings from beyond time. A being so powerful, mind you, that somewhere between four a.m. and six a.m. this morning it forced entry into our reality, tracked down a few hundred of its own worshippers for some offense, made such a mess of them that it’ll take forensics years to figure out who’s who, and wrote words on the wall in their bodily substances that’ll make weak-minded men go mad. And, if that were the case, and this is the crucial bit,” the Detective growled, leaning in close to the Lieutenant, “we’d have to investigate it.” The lieutenant gulped. Lafont straightened up and brushed the crumbs off his coat. “Or a bunch of nutjobs in some cult committed mass suicide.” “Ah,” said the lieutenant. After a thoughtful pause, he added, “Terrible thing, mass suicide. Such a shame they went that route.

Ah, Clifford—what to make of it? Let’s see: poor box office, bad studio karma, critical excoriation . . . all the prerequisites for a cult hit.

De Gaulle can greet Mendès-France with mingled amusement and affection—"Ah, Mendès, you have come to tell me you are torn"—but in America it is two strikes and you're out, Adlai, particularly when otherwise alienated intellectuals are so eager to embrace the cult of experience and to worship men of action.

The practitioner empowers his food and drink into nectar with the three syllables OM AH HUM , and he eats it as if it were an offering to the deity whom he vividly visualizes himself to be; he empowers his clothing and seat also into "ornaments of self-luminous knowledge" with the three syllables, and thus he enjoys them.

We Poets exist for this very purpose. We set men free from their desires. I don't understand you. You talk in riddles. What? You don't understand me? And yet you have been reading my poems all this while! -- There is renunciation in our words, renunciation in the metre, renunciation in our music. That is why fortune always forsakes us; and we, in turn always forsake fortune. We go about, all day long, initiating the youths in the sacred cult of fortune-forsaking. What does it say to us? It says: 'Ah brothers, don't cling to your goods and chattels, And sit ever in the corner of your room. Come out, come out into the open world. Come out into the highways of life. Come out, ye youthful Renouncers.