American Horror Story Quotes

The Devil is real. And he's not a little red man with horns and a tail. He can be beautiful. Because he's a fallen angel, and he used to be God's favorite.

so many people would be afraid to look in the mirror if the saw their character and not their face…it would be like american horror story.

Oh honey... goddesses don't speak in whispers... they scream

If you look in the face of evil, evil's gonna look right back at you.

You're the only light I've ever known.

If you look at evil, evil is going to look right back at you.

Normal people scare me

That man was a particular kind of liar. The kind that lies to himself about being a liar. Who is so corrupt, and deluded, he believed his own lies. Lies are like scars on your soul. They destory you.

If you look into the face of evil, evil's gonna look right back at you

We have two selves... One the world needs us to be, compliant... And the shadow... Ignore it and life is forever suffering.

You will learn, its not our precious virus that makes you, its not who you kill or who you screw... its the heartbreaks... the bigger... the better... and I know better than any of us

Life is to short for so much sorrow

I think everyone in this world thinks they're either blessed or cursed

Messes are always forgiven... the first time...

Oh, honey... Goddesses don’t speak in whispers. They scream.

Human beings across every culture I know about require such stories, stories with cool winds and wood smoke. They speak to something deep within us, the capacity to conceptualize, objectify and find patterns, thereby to create the flow of events and perceptions that find perfect expression in fiction. We are built this way, we create stories by reflex, unstoppably. But this elegant system really works best when the elements of the emerging story, whether is is being written or being read, are taken as literal fact. Almost always, to respond to the particulars of the fantastic as if they were metaphorical or allegorical is to drain them of vitality.

How shall I typify what happened? Passion play? Somewhat. Weird tale? Indubitably. Horror story? Pretty close. Grotesque melodrama? Certainly. Black comedy? Your point of view will determine that. Perhaps it was a combination of them all... So, to the story. A chronicle of greed and cruelty, horror and rapacity, sadism and murder. Love, American style.

In this whole wide wicked world the only thing you have to be afraid of is me.

Bitch, I will eat you!

♫ Wait a minute, baby...stay with me awhile...said you'd show me light, but you never told me 'bout the fire ♫ Steve didn't really find her voice until after she and Lindsay joined Fleetwood Mac. And that's the thing: you can't be your best self until you find your tribe. I'm still lookin' for mine.

Hart has proven he has talent and there is a market out there for queasy, uneasy, in-yo'-face, material.” -Tattoo Savage Magazine

Don't be a hater, dear.

Don't make me drop a house on you.

Too much? Well, I don't know. Maybe you're right. Then here's my other offer: You can all just die.

And now we must say goodbye to Nan... who fell in the bathtub.

Misty's probably twirled her way to the Everglades by now. Don't bother.

You think you can just throw me away for some junior varsity mall rat?

This coven doesn't need a new supreme. It needs a new rug.

Allow me to introduce myself... I'm the Countess...

You have a jawline for days...

The world can be such a... dangerous place...

My inspiration for writing music is like Don McLean did when he did "American Pie" or "Vincent". Lorraine Hansberry with "A Raisin in the Sun". Like Shakespeare when he does his thing, like deep stories, raw human needs. I'm trying to think of a good analogy. It's like, you've got the Vietnam War, and because you had reporters showing us pictures of the war at home, that's what made the war end, or that shit would have lasted longer. If no one knew what was going on we would have thought they were just dying valiantly in some beautiful way. But because we saw the horror, that's what made us stop the war. So I thought, that's what I'm going to do as an artist, as a rapper. I'm gonna show the most graphic details of what I see in my community and hopefully they'll stop it quick. I've seen all of that-- the crack babies, what we had to go through, losing everything, being poor, and getting beat down. All of that. Being the person I am, I said no no no no. I'm changing this.

The faith itself was simple; he believed in the dignity of man. His ancestors were Huguenots, refugees of a chained and bloody Europe. He had learned their stories in the cradle. He had grown up believing in America and the individual and it was a stronger faith than his faith in God. This was the land where no man had to bow. In this place at last a man could stand up free of the past, free of tradition and blood ties and the curse of royalty and become what he wished to become. This was the first place on earth where the man mattered more than the state. True freedom had begun here and it would spread eventually over all the earth. But it had begun HERE. The fact of slavery upon this incredibly beautiful new clean earth was appalling, but more even than that was the horror of old Europe, the curse of nobility, which the South was transplanting to new soil. They were forming a new aristocracy, a new breed of glittering men, and Chamberlain had come to crush it. But he was fighting for the dignity of man and i that way he was fighting for himself. If men were equal in America, all the former Poles and English and Czechs and blacks, then they were equal everywhere, and there was really no such thing as foreigner; there were only free men and slaves. And so it was not even patriotism but a new faith. The Frenchman may fight for France, but the American fights for mankind, for freedom; for the people, not the land.

I am a millennial. Generation Y; born between the birth of AIDS and 9/11, give or take. They call us the global generation. We are known for our entitlement and narcissism. Some say it’s because we’re the first generation where every kid gets a trophy just for showing up. Others think it’s because social media allows us to post when we fart or have a sandwich for all the world to see. But it seems our one defining trait is a numbness to the world. An indifference to suffering.

Jodi Byrd writes: “The story of the new world is horror, the story of America a crime.” It is necessary, she argues, to start with the origin of the United States as a settler-state and its explicit intention to occupy the continent. These origins contain the historical seeds of genocide. Any true history of the United States must focus on what has happened to (and with) Indigenous peoples—and what still happens.

I'm a lady and then some.

I couldn't toast a piece of bread with the heat they were putting on you.

Oh, my life is pure torment. One book signing after another. Travel, travel, travel. It's, like, get me off the bestseller list already.

Maybe in another century, you can have two shithole salons.

Surprise, bitch!

You were always my fondest creation... I wanted to be here to help you transition... One last time...

(Washington) Irving was only the first of the writers of the American ghostly tale to recognize that the supernatural, exactly because its epistemological status is so difficult to determine, challenged the writer to invent a commensurately sophisticated narrative technique.

As Rebeca reveals what scraps of story she does have to Luca, he starts to understand that this is the one thing all migrants have in common, this is the solidarity that exists among them, though they all come from different places and different circumstances, some urban, some rural, some middle-class, some poor, some well educated, some illiterate, Salvadoran, Honduran, Guatemalan, Mexican, Indian, each of them carries some story of suffering on top of that train and into el norte beyond. Some, like Rebeca, share their stories carefully, selectively, finding a faithful ear and then chanting their words like prayers. Other migrants are like blown-open grenades, telling their anguish compulsively to everyone they meet, dispensing their pain like shrapnel so they might one day wake to find their burdens have grown lighter. Luca wonders what it would feel like to blow up like that. But for now he remains undetonated, his horrors sealed tightly inside, his pin fixed snugly in place.

Horror is a woman’s genre, and it has been all the way back to the oldest horror novel still widely read today: Frankenstein by Mary Shelley, daughter of pioneering feminist author Mary Wollstonecraft. Ann Radcliffe’s gothic novels (The Mysteries of Udolpho, The Italian) made her the highest-paid writer of the late eighteenth century. In the nineteenth century, Mary Elizabeth Braddon and Charlotte Riddell were book-writing machines, turning out sensation novels and ghost stories by the pound. Edith Wharton wrote ghost stories before becoming a novelist of manners, and Vernon Lee (real name Violet Paget) wrote elegant tales of the uncanny that rival anything by Henry James. Three of Daphne du Maurier’s stories became Hitchcock films (Jamaica Inn, Rebecca, The Birds), and Shirley Jackson’s singular horror novel The Haunting of Hill House made her one of the highest-regarded American writers of the twentieth century.

You know there's no God, right? You already figured out that it's just a bunch of crap someone made up to keep you from being who you are, from doing what you really want to do.

You're stuck on this rosy notion that the world operates on goodness, decency. But the truth is that all this will guarantee you is an early grave. But the biggest joke of all, the thing that will sink you every time - is hope. Hope that the world will right itself, that the just will be rewarded and the wicked punished. Once you buy into that horseshit you're dead in the water without any way to survive in this disgusting godforsaken world. You have to take control.

Writers like Washington Irving, Charles Brockden Brown, and Nathaniel Hawthorne added uniquely American elements to their horror stories, informed by the early settlers' Puritan faith and fears of indigenous peoples: eerie woods, the devil, and witches. Even today, much of American horror fiction reckons to varying degrees with fears that are tied up in the nation's history, fears of supernatural evil, of the racial other, and of the frightful consequences of the violent past coming home to roost.

Of course, the diagnosis of PTSD was only itself introduced into psychiatry in 1980. At first, it was seen as something rare, a condition that only affected a minority of soldiers who had been devastated by combat experiences. But soon the same kinds of symptoms—intrusive thoughts about the traumatic event, flashbacks, disrupted sleep, a sense of unreality, a heightened startle response, extreme anxiety—began to be described in rape survivors, victims of natural disaster and people who’d had or witnessed life-threatening accidents or injuries. Now the condition is believed to affect at least 7 percent of all Americans and most people are familiar with the idea that trauma can have profound and lasting effects. From the horrors of the 9/11 terrorist attacks to the aftermath of Hurricane Katrina, we recognize that catastrophic events can leave indelible marks on the mind.

I spent most of my time floating on an inflatable raft in the pristine Mediterranean waters, my big belly curving toward the sun, reading (incongruously) The Autobiography of Malcolm X. It rocked me to my core. Malcolm’s story opened a window onto a reality I had ignored. But the greatest revelation the book brought me was the possibility of profound human transformation. I was spellbound by his journey from the doped-up, numbers-running, woman-beating, street-hustling, pimping Malcolm Little to a proud, clean, literate, Muslim Malcolm X who taught that all white people were the Devil incarnate—to his final, spiritual transformation in Mecca. There he met white people from all over the world who received him as a brother, and he realized that “white,” as he had been using the word, didn’t mean skin color as much as it meant attitudes and actions some whites held toward non-whites—but that not all whites were racist. At the time of his murder, he was anything but the hatemonger portrayed in the American press. Somehow, through the horrors that had been his life, he had become a spiritual leader. How had this been possible?

Some, like Rebeca, share their stories carefully, selectively, finding a faithful ear and then chanting their words like prayers. Other migrants are like blown-open grenades, telling their anguish compulsively to everyone they meet, dispensing their pain like shrapnel so they might one day wake to find their burdens have grown lighter. Luca wonders what it would feel like to blow up like that. But for now he remains undetonated, his horrors sealed tightly inside, his pin fixed snugly in place.

For American Catholics, a millennium that John Paul II had hailed as a “new springtime” for Christianity began instead with a wave of revelations about priestly sex abuse. There had been intimations of this crisis in the 1980s, when several high-profile instances of priestly pedophilia had surfaced in the media. But nothing prepared Catholic America for the flood of 2003, which began in New England but ultimately left no diocese or community untouched, reaching even to the doors of the Vatican itself. Horror upon horror, cover-up upon cover-up, and sacrilege piled on sacrilege—it was like an anti-Catholic polemic from the nineteenth century, except that it was all too terribly true. No atheist or anticlericalist, no Voltaire or Ingersoll or Twain could have invented a story so perfectly calculated to discredit the message of the Gospel as the depredations of Thomas Geoghan and the legalistic indifference of Bernard Cardinal Law. No external enemy of the faith, no Attila or Barbarossa or Hitler, could have sown so much confusion and dismay among the faithful as Catholicism’s own bishops managed to do.

Royce’s lecture on Hegel told me why: We are all aware, if we have ever tried it, how empty and ghostly is a life lived for a long while in absolute solitude. Free me from my fellows, let me alone to work out the salvation of my own glorious self, and surely (so I may fancy) I shall now for the first time show who I am. No, not so; on the contrary I merely show in such a case who I am not. I am no longer friend, brother, companion, co-worker, servant, citizen, father, son; I exist for nobody; and erelong, perhaps to my surprise, generally to my horror, I discover that I am nobody. I

The team’s caravan traveled over difficult roads as American bombs fell. The car ahead of the one carrying Jonathan and Leah crashed. Jonathan and Leah remember the horror of seeing their friends thrown from the car. They jumped out to tend their injured colleagues, unsure of how to proceed. Just then some Iraqis stopped by the roadside. Seeing the wounded Americans lying in the ditch, they picked them up. Jonathan recalls, “They carried our bleeding friends to this town called Rutba. When we got there the doctor said, ‘Three days ago your country bombed our hospital. But we will take care of you.’ He sewed up their heads and saved their lives. When I asked the doctor what we owed him for his services, he said, ‘Nothing. Please just tell the world what has happened in Rutba.

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

Of course, the diagnosis of PTSD was only itself introduced into psychiatry in 1980. At first, it was seen as something rare, a condition that only affected a minority of soldiers who had been devastated by combat experiences. But soon the same kinds of symptoms—intrusive thoughts about the traumatic event, flashbacks, disrupted sleep, a sense of unreality, a heightened startle response, extreme anxiety—began to be described in rape survivors, victims of natural disaster, and people who’d had or witnessed life-threatening accidents or injuries. Now the condition is believed to affect at least 7 percent of all Americans and most people are familiar with the idea that trauma can have profound and lasting effects. From the horrors of the 9/11 terrorist attacks to the aftermath of Hurricane Katrina, we recognize that catastrophic events can leave indelible marks on the mind. We know now—as my research and that of so many others has ultimately shown—that the impact is actually far greater on children than it is on adults.

Jon Stewart: [at anchor desk] The media, of course, must walk a fine line covering this story. With more we turn to Steve Carell in the Daily Show news center. Steve? Steve Carell: [standing in front of a bank of TV monitors] Jon, this is in many ways an unprecedented situation for us. [A blue band with white letters—the “crawl,” or “chyron” in TV lingo—scrolls across the screen, at Carell’s waist level] Crawl: MAJORITY LEADER DASCHLE RECEIVES LETTER CONTAINING ANTHRAX. Steve Carell: On the one hand, we must alert the country to the latest events. Crawl: AL QAEDA VOWS NEW ATTACKS. Steve Carell: And on the other hand, we musn’t cause undue alarm. Crawl: FBI WARNS SOMETHING BAD TO HAPPEN SOMEWHERE SOMETIME. Steve Carell: Scaremongering isn’t the way to go. Crawl: WHITE POWDER FOUND ON DONUT IN ST. LOUIS. Steve Carell: So far the media has in fact shown restraint. Crawl: STORMS BATTER NEW ENGLAND—LINK TO TERRORISM STILL UNDETERMINED. Steve Carell: And I must stress this—there is absolutely no need to panic. Crawl: [picking up speed as it moves left to right] CIA: THAT GUY SITTING ACROSS FROM YOU ON THE BUS LOOKS A LITTLE SHIFTY. Steve Carell: Patience, diligence, and above all, responsibility. Crawl: A FRIEND OF THIS GUY I KNOW CONFIRMS HIS GIRLFRIEND TOLD HIM “THEY’RE PLANNING SOMETHING IN A MALL OR SOMETHING.” Steve Carell: Jon, we have a job to do here, but we also need perspective. Crawl: [accelerating] OH, F—! WHAT WAS THAT SOUND? SERIOUSLY, DID YOU HEAR A SOUND? Steve Carell: And in keeping that perspective— Crawl: “THE HORROR, THE HORROR”—KURTZ. POLL: 91% OF AMERICANS “WANT MOMMY.” Steve Carell: Okay, that was—no, no, no, that was unacceptable. Jon, would you excuse me for a minute? [walks out of frame] Crawl: CHICKEN LITTLE: “THE SKY IS FALLING! THE SKY IS FALLING!” OH GOD, OH GOD. [Carell confronts technician typing the crawl, beats him up as screen goes snowy] Jon Stewart: We’re having some technical difficulties with the crawl. Ah, Steve Carell is back! Steve Carell: Sorry about that, Jon. As I was saying, we journalists have to make sure that our worst instincts are curbed in the sake of national interest. Crawl: EVERYTHING IS GOING TO BE JUST WONDERFUL WITH LOLLIPOPS AND RAINBOWS AND HAPPY FEELINGS FOR EVERYONE. Steve Carell: It’s a unique challenge, but one I think the greatest free press in the world can easily attain. Crawl: BUNNIES ARE CUTE, CUDDLY, AND COMFORTING. Steve Carell: Jon?

Negroes joined their countrymen in recoiling at the horrors Germany Visited upon its Jewish citizens by restricting the type of jobs they were allowed to hold and the businesses they could start, imprisoning them wantonly and depriving them of due process and all citizenship rights, subjecting them to state-sanctioned humiliation and violence, segregating them into ghettos, and ultimately working them to death in slave camps and marking them for extermination. How could an American Negro observe the annihilation happening in Europe without identifying it with their own four-century struggle against deprivation, disenfranchisement, slavery and violence?

© 2000 The Barcelona Review, interview made by Sarah Martin with Patricia Anthony on the subject of her novel FLANDERS - Why did you choose to write about World War I? The easy answer to your question "Why?" would be that I wanted to write about death in all its aspects, from the terror and pain of it to the transcendent beauty of the end. Normally I don't begin a novel with a theme, but allow the theme to grow organically, just as I allow my characters and story to grow on their own and follow where they lead. Anyway, this time, rather than the idea, I played with theme. I looked around history for just the right death--the worst grinding horror of it, the great maw of the beast. The perfect choice, of course, was WWI. Not when the Americans entered the war - then the war became mobile. The soldiers climbed up out of the trenches. The early tanks made their debut. Earlier, then. So the secondary characters had to be British, as I didn't know enough about the Germans. It wouldn't be appropriate to set the novel in 1914 when, despite the slaughter of the British Army, many soldiers still believed the war would be won soon. No. It had to be the tag end of 1915, expanding until that dismal, wet autumn of 1916 when in Flanders the mud was so deep that the wounded drowned in it, that horses couldn't move. Hope was lost and all that was left was the daily grind of battle. War had become commonplace, a way of life, no longer a goal to be won. War had become the terrible, mindless machine that rolls over everything in its path - morality and courage and even outrage become moot in its shadow. But in that darkness, Travis Lee's enlightenment. And in the end, of course, the only light of the book resides in him, even though his external world is uncompromisingly dark. What I wanted to do was show one man who faces the worst that life and death has to offer, yet still has inner peace. Travis Lee's story is that of a man on his road toward enlightenment.

missions expert Miriam Adeney relates a story told to her by an African Christian friend: Elephant and Mouse were best friends. One day Elephant said, “Mouse, let’s have a party!” Animals gathered from far and near. They ate. They drank. They sang. And they danced. And nobody celebrated more and danced harder than Elephant. After the party was over, Elephant exclaimed, “Mouse, did you ever go to a better party? What a blast!” But Mouse did not answer. “Mouse, where are you?” Elephant called. He looked around for his friend, and then shrank back in horror. There at Elephant’s feet lay Mouse. His little body was ground into the dirt. He had been smashed by the big feet of his exuberant friend, Elephant. “Sometimes, that is what it is like to do mission with you Americans,” the African storyteller commented. “It is like dancing with an Elephant.”2 Elephant did not mean to do harm, but he did not understand the effects he was having on Mouse. The

when the Americans liberated Ohrdruf, one of Buchenwald’s sub-camps. Ohrdruf is particularly important because General Dwight Eisenhower, the Supreme Commander of Allied Forces in Europe, visited it on 12 April, just a week after it had been discovered. He brought with him Generals Omar Bradley and George Patton, and insisted on seeing ‘every nook and cranny’ of the camp, ‘because I felt it my duty to be in a position from then on to testify at first hand about these things in case there ever grew up at home the belief or assumption that the stories of Nazi brutality were just propaganda’.23 Here they observed torture devices, a butcher’s block used to smash the gold fillings from the mouths of the dead, a room piled to the ceiling with corpses, and the remains of hundreds of bodies that had been burned in a huge pit, as if on ‘some gigantic cannibalistic barbecue’.24 Patton, a man well used to the horrors of the battlefield, took one look at the ‘arms and legs and portions of bodies sticking out of the green water’ in the pit, and was obliged to retire behind a shed to throw up.25

Isatai started chanting, drums pounding, the rhythm gathered and met the beat of their hearts, and that sound matched their thoughts. It was one sound they could hear, then they felt a deep pounding of hooves vibrating through their bodies. As they stared into the fire they saw the face of a great buffalo, its mane, flame. It grew in their eyes, engulfing them in its spirit, the vision raced through their hearts like an engine.

Mackenzie, our profession courts death, madness is always just over the next rise, the next hillock…” Sherman’s voice dropped off, “I’m out in that landscape wavering between madness and sanity. Be careful Mackenzie you don’t cross over that rise and find yourself in the arid desert of madness … I fear it is this desert for me.

Like many Jewish Americans, she didn’t lose any close family members in the Holocaust but heard grim tales of more distant relatives, and read other horror stories from the war years. Those feelings were triggered as she watched Trump on the 2016 campaign trail, lashing out against Mexicans and other immigrants and stoking violence at his rallies.

For all the horror, the land was not without its magic... After a rain- or hailstorm had rumbled through, the sky was open and embracing, the breeze only a soft whisper against the songs of meadowlarks and cooing of doves... Robin's egg blue was the color of mornings without fear. At night, you could see the stars behind the stars. Infinity was never an abstraction on the High Plains.

I broke in, suggesting he should have a drink first so as to avoid the risk —to him—of having his tongue roll up into a ball and—to me—of having my lug-holes hammered at without doing my brains any good whatsoever. He agreed with a gesture which consisted of holding up a small cask of Tokay at arm’s length above his head and my head respectively, the unimpeded flow from the open bung-hole sloshing into our stomachs in accordance with the method known as “never letting it touch the sides.” Then he took up his story rather more clearly: “The Kaffir, who tended the garden and looked after the chickens, in Cracow, used to sleep in the pigeon loft. He said it was ‘very good for the breath.’ One night, I had this terrifying dream. A huge corkscrew, which was the earth, was spinning round, turning on its axis and twisting in its own spiral, just like the signs outside American barbershops, and I could see myself, no bigger than a bug but not hanging on so well, slither and stumble over the helix, and with my thoughts sent whirling down moving staircases made of a priori shapes. Suddenly, the fatal moment, there is a loud crack, my neck snaps, I fall flat on my face and I emerge in a splash of sparks before the Kaffir who had come to wake me. He says: ‘Did you have an attack of the nasties, then? Come and look at this.’ And he leads me to the pigeon loft and gets me to peep through a hole in the wall. I put my eye to it. I see a terrifying sight: a huge corkscrew, which was the Earth, was spinning round, turning on its axis and twisting in its own spiral, just like the signs outside American barbershops, and I could see myself, no bigger than a bug, but not hanging on so well. …” Eyes popping, the bumps on his forehead lit up, his moustache bristling, little Sidonius began the story again, which slotted into itself endlessly like the popular refrains everybody knows. He spoke feverishly, mangling his words. I listened, paralyzed with horror, at least ten times to his appalling rotating story. Then I went off to get a drink.

The human story is filled with pain and tragedy, but among the horrors that we have perpetrated on one another the persecution and attempted termination of the Jewish people, the brutal enslavement of Africans, and the destruction of native American civilizations in many respects are unparalleled.

I even attended a Christian singles night lecture kind of thing—I was single, it was free, and it was Church. Honestly, that night should be an episode of American Horror Story. The woman leading it was telling us how God had cured her herpes (I didn’t like to mention that herpes just goes into remission)

He urged Washington to organize a group of American journalists to come to Europe to begin documenting these horrors at once. There were still those who claimed “the stories of Nazi brutality were just propaganda,” Eisenhower believed. “I felt that the evidence should be immediately placed before the American and British publics in a fashion that would leave no room for cynical debate.

Now tell me what you’re afraid of.” “Uncle Nathan is right about this tree. It’s got some kind of spirit in it. And it doesn’t want me to leave.” I saw my dad smile and shake his head. “I’m serious, Dad. You can’t send those guys up here again. The tree will try to kill them before it lets them take me down. Didn’t you see it happen?” “I saw a couple of accidents…” “And Ronnie fell yesterday, but somehow I’m able to be up in this tree no problem. I got up here without any ropes or ladders. Don’t you find that mysterious? Uncle Nathan doesn’t. Grandfather doesn’t.” “They are both superstitious, that’s all.” “I know,” I said. “And what about that, Dad? You’ve spouted all your legends and myths at me my whole life, and now you suddenly don’t care about them? That doesn’t make any sense.” He sighed so deeply I could hear it. “I study those legends to get to know our culture, our heritage. I don’t believe that they are literal truths.” “But what about the mermaids?” I pressed. “Remember the big story you told about the singing boat and the killer whale? It was you who told me that maybe the story was wrong and it wasn’t a singing boat; it was a mermaid under the boat.” “I remember, but I had a real mermaid staring me in the face at the time. There isn’t anything like that going on right now.” “I hear whispers coming from the tree. It moves on its own. It is warmer than it should be…” “You’ve been up there too long. You’re delirious.” I grunted at him. “It started before I climbed up! ” Dad rubbed a hand over his face. “I don’t know what you want me to do here.” I turned on the camera and flipped the digital pictures until I found that one with the face. I stuck it in the bucket and lowered it down to my dad and told him to take a look. “Is that as good as a mermaid right in front of you?” He studied the picture a moment and then replied, “I always see faces in the knots of trees. Who doesn’t? I think that’s why so many people create horror stories about them.

It is the real stories of heroes like Washington and Nathan Hale and others that help us to properly feel the power of the ideas behind them. We must feel the horror of tyranny and must love the noble idea of liberty. We must love America. We cannot reduce things to the intellectual. In the end we must feel those ideas and see them embodied in heroes and stories. By deciding that every potential hero is too flawed to celebrate and venerate, or that such stories are somehow corny, we have done a grave disservice to several generations and to the country.

The rise of television made the situation even worse, bringing a glut of celebrities to “inane talk shows,” Marlon said, where they “babble on about nothing.” Meanwhile, in Mississippi, he pointed out, “state troopers were keeping James Meredith,” a black student, from “his constitutional right” of attending his classes at Ole Miss. Was this really the sort of media Americans wanted? Perhaps it was, Marlon realized to his horror. The reason television airtime wasn’t filled with more Shakespeare or more honest political debate was “because the American people don’t want to see it,” he said. The public greedily consumed gossip about the private lives of celebrities while stories of black teenagers being arrested on the streets of Los Angeles went untold. Marlon called it a “peephole impulse,” and concluded that it came from the public’s “naïveté.” Through “immersion in nonsense” fed to them by the media, people were content to live in blissful ignorance of “the painful truths of the world.” By the early 1960s, Marlon made it his mission to open people’s eyes. “I’ve decided,” he told one reporter, “I finally want to speak out against slop-oriented journalism and the conversational scavengers who exploit for profit and libel for entertainment.” That was essential, he said, in any effort to “change the way the public saw the world.” People got their impressions of the world through the media—so the media, in Marlon’s view, needed to be changed.

To all the girlies whose fascination with American Horror Story got a little too deep, and the obsession with malevolent gods went a little too hard. For all of those who listen to the Queen of the Damned soundtrack on repeat and relate to Wednesday Addams on a spiritual level. This one is for us.

That was what Americans did with their elderly and infirm, they put them away in homes, stripped them from their families. Enitan had told her the horror stories and had always sworn that she didn’t want to grow old in America. It was a cruel, cruel place.

Despite African Americans’ protests, the South Carolina legislature enacted the Black Codes in December.25 The Union had won the war but, to the horror of many, South Carolina and other Southern states were doing their best to reinstate slavery.

In his classic study Elegant Nightmares: The English Ghost Story from LeFanu to Blackwood, the American scholar Jack Sullivan divides traditional tales of the supernatural into two camps: the antiquarian and the visionary. The former is typified by a certain emotional detachment, coupled with subtle irony and a dry, precise evocation of a world that is recognizably our own, inhabited by sensible characters—male Edwardian antiquaries whose stolidity borders on dullness, and whose invocation of horrors is as inadvertent as it is irrevocable. The antiquarian ghost story is typified by the work of the English don M. R. (Montague Rhodes) James, himself inspired by the more open-ended horror of his Irish predecessor, Sheridan LeFanu. As Sullivan puts it, “For LeFanu’s characters, reality is inherently dark and deadly; for James’ antiquaries, darkness must be sought out through research and discovery.” The visionary ghost story, in contract, has more in common with the robust stream of American transcendentalism that emerged in the late 19th century, as well as with the hermetic and decadent artistic movements popular in fin de siècle Europe. Little surprise, then, that one of the most successful visionary writers, the British-born Algernon Blackwood, based his most rapturous and terrifying tales on his experiences in the Canadian wilderness, or that the other great supernatural visionary, the Welsh Arthur Machen, was a friend of Arthur Edward Waite, a member of the Order of the Golden Dawn, and drew upon Celtic myth in his short fiction. Sullivan identified a later, third stream in supernatural writing in Lost Souls, the companion volume to Elegant Nightmares: he simply calls it the contemporary ghost story, a capacious portmanteau term that makes room for writers such as Robert Aickman, Walter de la Mare, Elizabeth Bowen and Ramsey Campbell. To this list I’d add Peter Straub, Kelly Link, Glen Hirshberg, and now, with the publication of Mr. Gaunt and Other Uneasy Encounters, John Langan.

In 1948, the New Yorker published a short story by a then-unknown writer. The tale, about an ordinary town with a sinister secret, so outraged readers that the magazine reported receiving more negative mail than ever before, including many subscription cancellations. That story was “The Lottery” by Shirley Jackson, which went on to become one of the most famous short stories in American literature.

Writing within the horror genre affords authors an opportunity to show the most violent and terrifying parts of real life, and Beloved is a master class in that technique. Morrison tells a ghost story that makes visible the gut-wrenching true horror of slavery, especially as experienced by African American women, and forces readers to reckon with an often-ignored part of U.S. history and its haunting effects.

He notes that between 1900 and 1905 Hopkins published four novels, at least seven short stories, a historical booklet about Africa, more than twenty biographical sketches, and numerous essays and feature articles for the magazines The Colored American (for which she was literary editor from 1903 to 1904) and The Voice of the Negro.

Consequently, of the two main stories which emerged after September 11, both are worse, as Stalin would have put it. The American patriotic narrative – the innocence under siege, the surge of patriotic pride – is, of course, vain; however, is the Leftist narrative (with its Schadenfreude: the USA got what it deserved, what it had been doing to others for decades) really any better? The predominant reaction of European – but also American – Leftists was nothing less than scandalous: all imaginable stupidities were said and written, up to the ‘feminist’ point that the WTC towers were two phallic symbols, waiting to be destroyed (‘castrated’). Was there not something petty and miserable in the mathematics reminding us of Holocaust revisionism (what are the 3,000 dead against millions in Rwanda, Kongo, etc.)? And what about the fact that the CIA (co-)created the Taliban and Bin Laden, financing and helping them to fight the Soviets in Afghanistan? Why was this fact quoted as an argument against attacking them? Would it not be much more logical to claim that it is precisely America’s duty to rid us of the monster it created? The moment we think in the terms of ‘Yes, the WTC collapse was a tragedy, but we should not fully solidarize with the victims, since this would mean supporting US imperialism’, the ethical catastrophe is already here: the only appropriate stance is unconditional solidarity with all victims. The ethical stance proper is replaced here by the moralizing mathematics of guilt and horror, which misses the key point: the terrifying death of each individual is absolute and incomparable.

In half a century, 1717–67, 10,000 serious criminals were dumped on Maryland alone. They arrived chained in groups of ninety or more, looking and smelling like nothing on earth. Marginal planters regarded them as a good buy, especially if they had skills. They went into heavy labor—farming, digging, shipbuilding, the main Baltimore ironworks, for instance. In 1755 in Baltimore, one adult male worker in ten was a convict from Britain.165 They were much more troublesome than non-criminal indentured labor, always complaining of abuses and demanding ‘rights.’ People hated and feared them. Many were alcoholics or suicidal. Others had missing ears and fingers or gruesome scars. Some did well—one ex-thief qualified as a doctor and practiced successfully in Baltimore, attracting what he called ‘bisness a nuf for 2.’ But there were much talked-about horror-stories—one convict went mad in 1751 and attacked his master’s children with an axe; another cut off his hand rather than work. From Virginia, William Byrd II wrote loftily to an English friend: ‘I wish you would be so kind as to hang all your felons at home.’166 There were public demands that a head-tax be imposed on each convict landed or that purchasers be forced to post bonds for their good behavior. But the British authorities would never have allowed this. As a result of the convict influx we hear for the first time in America widespread complaints that crime was increasing and that standards of behavior had deteriorated. All this was blamed on Britain.

But first I’ve got to get another book: How to Break the [SPOILER] When Native Americans Have Had Too Much Time on Their Hands.

Even if the coffers hadn’t been empty, if we’d had all the money to make all the uniforms we needed to implement Phase Two, who do you think we could have conned into filling them? This goes to the heart of America’s war weariness. As if the “traditional” horrors weren’t bad enough—the dead, the disfigured, the psychologically destroyed—now you had a whole new breed of difficulties, “The Betrayed.” We were a volunteer army, and look what happened to our volunteers. How many stories do you remember about some soldier who had his term of service extended, or some exreservist who, after ten years of civilian life, suddenly found himself recalled into active duty? How many weekend warriors lost their jobs or houses? How many came back to ruined lives, or, worse, didn’t come back at all? Americans are an honest people, we expect a fair deal. I know that a lot of other cultures used to think that was naïve and even childish, but it’s one of our most sacred principles. To see Uncle Sam going back on his word, revoking people’s private lives, revoking their freedom… After Vietnam, when I was a young platoon leader in West Germany, we’d had to institute an incentives program just to keep our soldiers from going AWOL. After this last war, no amount of incentives could fill our depleted ranks, no payment bonuses or term reductions, or online recruiting tools disguised as civilian video games.17 This generation had had enough, and that’s why when the undead began to devour our country, we were almost too weak and vulnerable to stop them. I’m not blaming the civilian leadership and I’m not suggesting that we in uniform should be anything but beholden to them. This is our system and it’s the best in the world. But it must be protected, and defended, and it must never again be so abused.

early twentieth-century Latin American writers with a bent for fantasy or pornography, or both, as in the case of Pedro Pereda, an obscure novelist from Valparaiso, the author of a startling story in which a woman finds vaginas and anuses growing, or rather opening, all over her anatomy, to the understandable horror of her friends and family (the story is set in the ’20s, but I don’t suppose it would have been any less shocking in the ’70s or the ’90s), and who ends up confined to a brothel for miners in northern Chile, where she remains, shut up in a room without windows, until in the end she becomes a great amorphous, uncontrollable in-and-out, finishes off the old pimp who runs the brothel along with the rest of the whores and the terrified clients, goes out onto the patio, and sets off into the desert (walking or flying, Pereda doesn’t say), finally disappearing into thin air.

The human story is filled with pain and tragedy, but among the horrors that we have perpetrated on one another, the persecution and attempted extermination of the Jewish people, the brutal enslavement of Africans, and the destruction of Native American civilizations in many respects are unparalleled.

Ever since I was a kid, my family had been telling paranoid stories of far-flung conspiracies, chief among them that a shadowy cabal had rigged the economic system and intentionally shortchanged my people, the working poor. They believed in smoke-filled rooms where the world’s rich and powerful met to conspire against them. To defend themselves, they bought overwhelming arsenals of guns and maintained veritable armories in their houses and garages in preparation for a long-rumored invasion of the United States by the combined forces of the New World Order and the United Nations. They horded supplies and prepped for the fall of America, a dystopic horror companies advertising gas masks and rations and gold coins were too happy to use to peddle their wares. Because of this irrational fear, many of my relatives and people like them were vulnerable to the manipulations of white supremacists. The election of Obama and the propagation of progressivism, including a vigorous fight for multiculturalism and equal rights, was seen as a scourge that threatened to undermine “traditional” American values.

The Kaffir, who tended the garden and looked after the chickens, in Cracow, used to sleep in the pigeon loft. He said it was "very good for the breath": One night, I had this terrifying dream. A huge corkscrew, which was the earth, was spinning round, turning on its axis and twisting in its own spiral, just like the signs outside American barbershops, and I could see myself, no bigger than a bug but not hanging on so well, slither and stumble over the helix, and with my thoughts sent whirling down moving staircases made of a priori shapes. Suddenly, the fatal moment, there is a loud crack, my neck snaps, I fall flat on my face and I emerge in a splash of sparks before the Kaffir who had come to wake me. He says: "Did you have an attack of the nasties, then? Come and look at this": And he leads me to the pigeon loft and gets me to peep through a hole in the wall. I put my eye to it. I see a terrifying sight: a huge corkscrew, which was the Earth, was spinning round, turning on its axis and twisting in its own spiral, just like the signs outside American barbershops, and I could see myself, no bigger than a bug, but not hanging on so well....' Eyes popping, the bumps on his forehead lit up, his moustache bristling, little Sidonius began the story again, which slotted into itself endlessly like the popular refrains everybody knows. He spoke feverishly, mangling his words. I listened, paralyzed with horror, at least ten times to his appalling rotating story. Then I went off to get a drink.

What you are about to read is the story of the first war on terror. No ... wait. This is actually the origin story of second-wave white supremacy known as "Jim Crow laws." This is a war narrative. This is a horror story, but it's also a suspense thriller that ends in triumph. It also ends in tragedy. It's a true story about a fantastic myth. This is a narrative, nonfiction account of the all-American fairy tale of liberty and justice for all. Behold, the untold story of the Great American Race War. Before we begin, we shall introduce our hero. The hero of this drama is Black people. All Black people. The free Blacks; the uncloaked maroons; the Black elite; the preachers and reverends; the doormen and doctors; the sharecroppers and soldiers—they are all protagonists in our epic adventure. Spoiler alert: the hero of this story does not die. Ever. This hero is long-suffering but unkillable. Bloody and unbowed. In this story—and in all the subsequent sequels, now and forever—this hero almost never wins. But we still get to be the heroes of all true American stories simply because we are indestructible. Try as they might, we will never be extinguished. Ever.

King knows what scares us. He has proven this a thousand times over. I think the secret to this is that he knows what makes us feel safe, happy, and secure; he knows our comfort zones and he turns them into completely unexpected nightmares. He takes a dog, a car, a doll, a hotel—countless things that we know and love—and then he scares the hell out of us with those very same things. Deep down, we love to be scared. We crave those moments of fear-inspired adrenaline, but then once it’s over we feel safe again. King’s work generates that adrenaline and keeps it pumping. Before King, we really didn’t have too many notables in the world of horror writers. Poe and Lovecraft led the pack, but when King came along, he broke the mold. He improved with age just like a fine wine and readers quickly became addicted, and inestimable numbers morphed into hard-core fans. People can’t wait to see what he’ll do next. What innocent, commonplace “thing” will he come up with and turn into a nightmare? I mean, think about it…do any of us look at clowns, crows, cars, or corn fields the same way after we’ve read King’s works? SS: How did your outstanding Facebook group “All Things King” come into being? AN: About five years ago, I was fairly new to Facebook and the whole social media world. I’m a very “old soul” (I’ve been told that many times throughout my life: I miss records and VHS tapes), so Facebook was very different for me. My wife and friends showed me how to do things and find fan pages and so forth. I found a Stephen King fan page and really had a fun time. I posted a lot of very cool things, and people loved my posts. So, several Stephen King fans suggested I do my own fan page. It took some convincing, but I finally did it. Since then, I have had some great co-administrators, wonderful members, and it has opened some amazing doors for me, including hosting the Stephen King Dollar Baby Film fest twice at Crypticon Horror Con in Minnesota. I have scored interviews with actors, writers, and directors who worked on Stephen King films or wrote about King; I help promote any movie, or book, and many other things that are King related, and I’ve been blessed to meet some wonderful people. I have some great friends thanks to “All Things King.” I also like to teach our members about King (his unpublished stories, lesser-known short stories, and really deep facts and trivia about his books, films, and the man himself—info the average or new fan might not know). Our page is full of fun facts, trivia, games, contests, Breaking News, and conversations about all things Stephen King. We have been doing it for five years now as of August 19th—and yes, I picked that date on purpose.

The governments of the world went into a frenzy. While Wei sent relatives of the victims of Unit 731 into the past to bear witness to the horrors committed in the operating rooms and prison cells of Pingfang, China and Japan waged a bitter war in courts and in front of cameras, staking out their rival claims to the past. The United States was reluctantly drawn into the fight, and, citing national security reasons, finally shut down Wei’s machine when he unveiled plans to investigate the truth of America’s alleged use of biological weapons (possibly derived from Unit 731’s research) during the Korean War. Armenians, Jews, Tibetans, Native Americans, Indians, the Kikuyu, the descendants of slaves in the New World—victim groups around the world lined up and demanded use of the machine, some out of fear that their history might be erased by the groups in power, others wishing to use their history for present political gain. As well, the countries who initially advocated access to the machine hesitated when the implications became clear: Did the French wish to relive the depravity of their own people under Vichy France? Did the Chinese want to re-experience the self-inflicted horrors of the Cultural Revolution? Did the British want to see the genocides that lay behind their Empire? With remarkable alacrity, democracies and dictatorships around the world signed the Comprehensive Time Travel Moratorium while they wrangled over the minutiae of the rules for how to divide up jurisdiction of the past. Everyone, it seemed, preferred not to have to deal with the past just yet.