Folk Horror Quotes

Let’s start with a love story. Or maybe it’s another horror story. It seems like the difference is mostly in where the ending comes.

A silent Library is a sad Library. A Library without patrons on whom to pile books and tales and knowing and magazines full of up-to-the-minute politickal fashions and atlases and plays in pentameter! A Library should be full of exclamations! Shouts of delight and horror as the wonders of the world are discovered or the lies of the heavens are uncovered or the wild adventures of devil-knows-who sent romping out of the pages. A Library should be full of now-just-a-minutes and that-can't-be-rights and scientifick folk running skelter to prove somebody wrong. It should positively vibrate with laughing at comedies and sobbing at tragedies, it should echo with gasps as decent ladies glimpse indecent things and indecent ladies stumble upon secret and scandalous decencies! A Library should not shush; it should roar!

Cardan’s fingers dig into my back. He’s trembling, and whether it is from ebbing magic or horror, I am not sure. But he holds me as though I am the only solid thing in the world.

I dreamed about the nature of man, and about a courteous, reasonable, and respectable community of men - while the ghastly bloody feast went on in the temple behind them. Were they courteous and charming to one another, those sunny folk, out of silent regard for that horror?

Let's start with a love story. Or maybe it's another horror story. It seems like the difference is mostly in where the ending comes.

Cardan's fingers dig into my back. He's trembling, and whether it is from ebbing magic or horror, I am not sure. But he holds me as though I am the only solid thing in the world.

Once they rode camels in the desert; once they drove caravans across Europe. They eat screams and drink pain. You had your horrors at the Overlook, Danny, but at least you were spared these folks.

Trippers and askers surround me, People I meet, the effect upon me of my early life or the ward and city I live in, or the nation, The latest dates, discoveries, inventions, societies, authors old and new, My dinner, dress, associates, looks, compliments, dues, The real or fancied indifference of some man or woman I love, The sickness of one of my folks or of myself, or ill-doing or loss or lack of money, or depressions or exaltations, Battles, the horrors of fratricidal war, the fever of doubtful news, the fitful events; These come to me days and nights and go from me again, But they are not the Me myself. Apart from the pulling and hauling stands what I am, Stands amused, complacent, compassionating, idle, unitary, Looks down, is erect, or bends an arm on an impalpable certain rest, Looking with side-curved head curious what will come next, Both in and out of the game and watching and wondering at it. Backward I see in my own days where I sweated through fog with linguists and contenders, I have no mockings or arguments, I witness and wait.

All the London ton acknowledged Scotland as a barbaric place. The packs there cared very little for the social niceties of daytime folk. Highland werewolves had a reputation for doing atrocious and highly unwarranted things, like wearing smoking jackets to the dinner table. Lyall shivered at the delicious horror of the very idea.

Other folk thought the Rage was simple bloodlust, a berserk savagery that neither knew nor cared what its target was, and so it was when it struck without warning. But when a hradani gave himself to it knowingly, it was as cold as it was hot, as rational as it was lethal. To embrace the Rage was to embrace a splendor, a glory, a denial of all restraint but not of reason. It was pure, elemental purpose, unencumbered by compassion or horror or pity, yet it was far more than mere frenzy.

Though I would not delight to see the straps sink into your skin, neither would I mourn.' 'Enough blustering,' he says. 'You've already won. Look.' He takes me by the shoulders and turns me so that I can see where the great body of the serpent lies. A jolt of horror goes through me, and I try to wrench out of his grip. And then I notice the fighting has ebbed, the Folk are staring. From within the body of the creature emanates a glow. And then, through that, Cardan steps out. Cardan, naked and covered in blood. Alive. Only out of his spilled blood can a great ruler rise. ... Cardan takes a step forward and little cracks appear from his footfalls. Fissures in the very earth. He speaks with a boom that echoes through everyone gathered there. 'The curse is broken. The king is returned.' He's every bit as terrifying as any serpent. I don't care. I run into his arms.

I didn't understand the horror of being so powerful and so utterly powerless all at the same time.

It seemed to me that a soul that preferred a cold grave to the white light of Heaven was suspect.

Avoid the moor in those hours of darkness when the powers of evil are exalted.

They’s allus ben unseen things araound Dunwich—livin’ things—as ain’t human an’ ain’t good fer human folks.

He knew clearly enough that his imagination was growing traitor to him, and yet at times it seemed the ship he sailed in, his fellow-passengers, the sailors, the wide sea, were all part of a filmy phantasmagoria that hung, scarcely veiling it, between him and a horrible real world. Then the Porroh man, thrusting his diabolical face through that curtain, was the one real and undeniable thing. At that he would get up and touch things, taste something, gnaw something, burn his hand with a match, or run a needle into himself. ("Pollock And The Porrah Man")

Matthew knew that phrenology was nonsense, and yet, years later, he found himself making judgments similar to those made by his father; slippery people looked slippery; they really did. And how we become like our parents! How their scorned advice - based, we felt in our superiority, on prejudiced and muddled folk wisdom - how their opinions are subsequently borne out by our own discoveries and sense of the world, one after one. And as this happens, we realise with increasing horror that proposition which we would never have entertained before: our mothers were right!

Perhaps one may be out late, and had got separated from one's companions. Oh horrors! Suddenly one starts and trembles as one seems to see a strange-looking being peering from out of the darkness of a hollow tree, while all the while the wind is moaning and rattling and howling through the forest—moaning with a hungry sound as it strips the leaves from the bare boughs, and whirls them into the air. High over the tree-tops, in a widespread, trailing, noisy crew, there fly, with resounding cries, flocks of birds which seem to darken and overlay the very heavens. Then a strange feeling comes over one, until one seems to hear the voice of some one whispering: "Run, run, little child! Do not be out late, for this place will soon have become dreadful! Run, little child! Run!" And at the words terror will possess one's soul, and one will rush and rush until one's breath is spent—until, panting, one has reached home.

How soon, sugar, the terrible becomes routine. We've all got this dangerous built-in talent: for turning horrors into errands. You hear folks wonder how the Germans could have done it? I believe part of the answer is: They made extermination be a nine-to-five activity. You know, salaries? Lunch breaks? And the staff came and did their job and went home and ate supper and slept and woke and came back and did their job and went home and ate their supper and slept and woke and came back and did their job. --That's partly how you get anything done, especially a chore what's dreadful, dreadful. -- Honey? we've all got to be real careful of what we can get used to.

Good horror is written by people who understand that fear is one of the cardinal passageways into the core of humanity. Good horror is generally written by folks who grew up on horror; books, movies, etc. You can’t simply decide to write—in any genre—if you don’t first have an understanding of the topic and a strong mental backlog of reference.

Where do bad folks go when they die? No heaven awaits them, say to it goodbye

Let’s start with a love story. Or maybe it’s another horror story. It seems like the difference is mostly in where the ending comes.

She could weave between peace and poison fluid as a silver fish, and both of them were true. There wasn't a fake bone in her body, but that almost made it worse.

me standing there- just standing there- looking around and thinking, God, I'm not supposed to be here, I'm supposed to be somewhere else, this is wrong, this is *wrong*.

Let’s start with a love story. Or maybe it’s another horror story.

Wouldst thou like the taste of butter? A pretty dress? Wouldst thou like to live deliciously?

Believe me there’s no spiteful stupidity, no horror, no absurd story that one can’t get the idle-minded folk of a great city to swallow if one goes the right way about it—

By necessity practical and by philosophy stern, these folk were not beautiful in their sins.

There are those among the Folk so hideous that all living things shrink back in horror. And yet others have a grotesquerie so exaggerated, so voluptuous, that it comes all the way around to beauty

Under the same influence, those who come, or could come, nearer to a full humanity, actually draw back from it for fear of being undemocratic. I am credibly informed that young humans now sometimes suppress an incipient taste for classical music or good literature because it might prevent their Being like Folks; that people who would really wish to be—and are offered the Grace which would enable them to be—honest, chaste, or temperate, refuse it. To accept might make them Different, might offend again the Way of Life, take them out of Togetherness, impair their Integration with the Group. They might (horror of horrors!) become individuals.

Most of all, I hate you because I think of you. Often. It's disgusting, and I can't stop.' I am shocked in to silence. 'Maybe you should shoot me after all,' he says, covering his face with one long-fingered hand. ... He doesn't look up as I walk around the desk to him. I place the tip of the blade against the bottom of his chin, as I did the day before in the hall, and I tilt his face toward mine. He shifts his gaze with obvious reluctance. The horror and shame on his face look entirely too real. Suddenly, I am not so sure what to believe. I lean toward him, close enough for a kiss. His eyes widen. The look in his face is some commingling of panic and desire. It is a heady feeling, having power over someone. Over Cardan, who I never thought had any feelings at all. 'You really do want me,' I say, close enough to feel the warmth of his breath as it hitches. 'And you hate it.' I change the angle of the knife, turning it so it's against his neck. He doesn't look nearly as alarmed by that as I might expect. Not nearly as alarmed as when I bring my mouth to his.

I think of his horror at his own desire when I brought my mouth to his, the dagger in my hand, edge against his skin. The toe-curling, corrosive pleasure of that kiss. It felt as though I was punishing him- punishing him and myself at the same time. I hated him so much.

I don't like the way he say you. Like I different. Like I didn't just see one-of-me-like-me beat until she fall. [...] But my boy doesn't see. He can't see. Can't hear, either. He never tried to mimic my words and so he doesn't understand and I see again, why Mama so afraid of Below.

Under the influence of this incantation those who are in any or every way inferior can labour more wholeheartedly and successfully than ever before to pull down everyone else to their own level. But that is not all. Under the same influence, those who come, or could come, nearer to a full humanity, actually draw back from it for fear of being undemocratic. I am credibly informed that young humans now sometimes suppress an incipient taste for classical music or good literature because it might prevent their Being like Folks; that people who would really wish to be—and are offered the Grace which would enable them to be—honest, chaste, or temperate, refuse it. To accept might make them Different, might offend again the Way of Life, take them out of Togetherness, impair their Integration with the Group. They might (horror of horrors!) become individuals.

Madame Vernoique arched an eyebrow imperiously. "Due to being exiled, your parents have been ... isolated in these mountains." "Did she just call us hillbillies?" Quinn drawled. "Hey," Duncan broke in mildly. "Some of my friends are hillbillies." "Are they horror-movie mountain folk like us?" "I'll be sure to ask Bryn next time I see her.

He stalks toward me, close enough that I can feel his breath stirring my hair. ¨Are you commanding me?¨ ¨No¨ I say, startled and unable to meet his gaze. ¨Of course not.¨ His fingers come to my chin, tilting my head so I am looking up into his black eyes, the rage in them as hot as coals. ¨You just think I ought to. That I can. That i be good at it. Very well, Jude. Tell me how its done. Do you think she´d like it if i came to her like this, if i looked deeply into her eyes?¨ My whole body is alert, alive with sick desire, embarassing in its intensity. He knows. I know he knows. ¨Probably,¨ I say, my voice coming out a little shakily. ¨Whatever it is you usually do.¨ ¨Oh, come now,¨ he says, his voice full of barely controlled fury. ¨If you want me to play the bawd, at least give me the benefit on your advice.¨ His beringed fingers trace over my cheek, trace the line of my lip and down my throat. I feel dizzy and overwhelmed. ¨Should I touch her like this?¨ he asks, lashes lowered. The shadows limn his face, casting his cheekbones into stark relief. ¨I dont know,¨ I say, but my voice betrays me. It´s all wrong, high and breathless. He presses his mouth to my ear, kissing me there. His hands skim over my shoulders, making me shiver. ¨And then like this? Is this how I ought to seduce her? I can feel his mouth shape the light words against my skin. ¨Do you think it would work?¨ I dig my fingernails into the meat of my palm to keep from moving against him. My whole body is trembling with tension. ¨Yes.¨ Then his mouth is against mine, and my lips part. I close my eyes against what im about to do. My fingers reach up to tangle in the black curls of his hair. He doesnt kiss me as though hes angry; his kiss is soft, yearning. Everything slows, goes liquid and hot. I can barely think. Ive wanted this and feared it, and now its happening, I dont know how i will ever want anything else. We stumble back to the low couch. He leans me against the cushions, and I pull him down over me. His expression mirrors my own, suprise and a little horror. Page 143-144

The real or fancied indifference of some man or woman I love, The sickness of one of my folks or of myself, or ill-doing or loss or lack of money, or depressions or exaltations, Battles, the horrors of fratricidal war, the fever of doubtful news, the fitful events; These come to me days and nights and go from me again, But they are not the Me myself.

It's my opinion he don't want to kill you,' said Perea - 'at least not yet. I've heard deir idea is to scar and worry a man wid deir spells, and narrow misses, and rheumatic pains, and bad dreams, and all dat, until he's sick of life. Of course, it's all talk, you know. You mustn't worry about it. But I wunder what he'll be up to next.' 'I shall have to be up to something first,' said Pollock, staring gloomily at the greasy cards that Perea was putting on the table. 'It don't suit my dignity to be followed about, and shot at, and blighted in this way. I wonder if Porroh hokey-pokey upsets your luck at cards.' He looked at Perea suspiciously. 'Very likely it does,' said Perea warmly, shuffling. 'Dey are wonderful people.' ("Pollock And The Porrah Man")

He thought of one of those girls frowning over a book, pushing a lock of brown hair back over one oddly curved ear. He thought of the way she looked at him, brows narrowed in suspicion. Scornful and alert. Awake. Alive. He imagined her as a mindless servant and felt a rush of something he couldn't quite untangle- horror, and also a sort of terrible relief. No ensorcelled human could look at him as she did.

The world's a hard place, Danny. It don't care. It don't hate you and me, but it don't love us, either. Terrible things happen in the world, and they're things no one can explain. Good people die in bad, painful ways and leave the folks that love them all alone. Sometimes it seems like it's only the bad people who stay healthy and prosper...That's your job in this hard world, to keep your love alive and see that you get on, no matter what. Pull your act together and just go on.

People I meet, the effect upon me of my early life or the ward and city I live in, or the nation, The latest dates, discoveries, inventions, societies, authors old and new, My dinner, dress, associates, looks, compliments, dues, The real or fancied indifference of some man or woman I love, The sickness of one of my folks or of myself, or ill-doing or loss or lack of money, or depressions or exaltations, Battles, the horrors of fratricidal war, the fever of doubtful news, the fitful events; These come to me days and nights and go from me again, But they are not the Me myself.

The sickness of one of my folks or of myself, or ill-doing or loss or lack of money, or depressions or exaltations, Battles, the horrors of fratricidal war, the fever of doubtful news, the fitful events; These come to me days and nights and go from me again, But they are not the Me myself. Apart from the pulling and hauling stands what I am, Stands amused, complacent, compassionating, idle, unitary, Looks down, is erect, or bends an arm on an impalpable certain rest, Looking with side-curved head curious what will come next, Both in and out of the game and watching and wondering at it.

Because it wasn’t enough to be accompanied by the beast who scared the crap out of every god in Heaven, Xuanzang was assigned a few more traveling companions. The gluttonous pig-man Zhu Baijie. Sha Wujing, the repentant sand demon. And the Dragon Prince of the West Sea, who took the form of a horse for Xuanzang to ride. The five adventurers, thusly gathered, set off on their— “Holy ballsacks!” I yelped. I dropped the book like I’d been bitten. “How far did you get?” Quentin said. He was leaning against the end of the nearest shelf, as casually as if he’d been there the whole time, waiting for this moment. I ignored that he’d snuck up on me again, just this once. There was a bigger issue at play. In the book was an illustration of the group done up in bold lines and bright colors. There was Sun Wukong at the front, dressed in a beggar’s cassock, holding his Ruyi Jingu Bang in one hand and the reins of the Dragon Horse in the other. A scary-looking pig-faced man and a wide-eyed demon monk followed, carrying the luggage. And perched on top of the horse was . . . me. The artist had tried to give Xuanzang delicate, beatific features and ended up with a rather girly face. By whatever coincidence, the drawing of Sun Wukong’s old master could have been a rough caricature of sixteen-year-old Eugenia Lo from Santa Firenza, California. “That’s who you think I am?” I said to Quentin. “That’s who I know you are,” he answered. “My dearest friend. My boon companion. You’ve reincarnated into such a different form, but I’d recognize you anywhere. Your spiritual energies are unmistakable.” “Are you sure? If you’re from a long time ago, maybe your memory’s a little fuzzy.” “The realms beyond Earth exist on a different time scale,” Quentin said. “Only one day among the gods passes for every human year. To me, you haven’t been gone long. Months, not centuries.” “This is just . . . I don’t know.” I took a moment to assemble my words. “You can’t walk up to me and expect me to believe right away that I’m the reincarnation of some legendary monk from a folk tale.” “Wait, what?” Quentin squinted at me in confusion. “I said you can’t expect me to go, ‘okay, I’m Xuanzang,’ just because you tell me so.” Quentin’s mouth opened slowly like the dawning of the sun. His face went from confusion to understanding to horror and then finally to laughter. “mmmmphhhhghAHAHAHAHA!” he roared. He nearly toppled over, trying to hold his sides in. “HAHAHAHA!” “What the hell is so funny?” “You,” Quentin said through his giggles. “You’re not Xuanzang. Xuanzang was meek and mild. A friend to all living things. You think that sounds like you?” It did not. But then again I wasn’t the one trying to make a case here. “Xuanzang was delicate like a chrysanthemum.” Quentin was getting a kick out of this. “You are so tough you snapped the battleaxe of the Mighty Miracle God like a twig. Xuanzang cried over squashing a mosquito. You, on the other hand, have killed more demons than the Catholic Church.” I was starting to get annoyed. “Okay, then who the hell am I supposed to be?” If he thought I was the pig, then this whole deal was off. “You’re my weapon,” he said. “You’re the Ruyi Jingu Bang.” I punched Quentin as hard as I could in the face.

Later when Cardan, Locke, Nicasia, and Valerian sit down to their lunch, they have to spit out their food in choking horror. All around them are the less awful children of faerie nobles, eating their bread and honey, their cakes and roasted pigeons, their elderflower jam with biscuits and cheese and the fat globes of grapes. But every single morsel in each of my enemies' baskets has been well and thoroughly salted. Cadan's gaze catches mine, and I can't help the evil smile that pulls up the corners of my mouth. His eyes are bright as coals, his hatred a living thing, shimmering in the air between us like the air above black rocks on a blazing summer day.

From "Lunchtime At The Justice Cafe" : The waitress snarled a grin that lasted just long enough to show a mouthful of stained yellowed teeth, then turned suddenly serious. “‘Course I’m not the one to talk about these folks, I ‘spose. You see, I used to do a bit of eavesdroppin’ in my day before the sheriff put a stop to that.” 

She lifted the stringy blond hair from the side of her face, the opposite side from where she had hidden her pencil. There was a small hole about the size of a quarter where her ear should have been. “As you can see, Mr. McAllister, Sheriff Sweet puts a fairly high price on mindin’ your own business in Justice,” she added, refilling his cup. “You want some pie?” 


But we all die, and all death is violent, the overthrowing of the state of life, so why did that year [1968]seem so terrible? Are King or Kennedy or some peasant folk in a village more important than the starved-out of Biafra, the names on the Detroit homicide list? Maybe I'm playing an intellectual game, marking out one year or two on a calendar as special in horror so I can add that they were also special in significance, and thus compensate for the horror, or even redeem it. Humans are fond of finding ways to be grateful for their suffering, calling falls fortunate and deaths resurrection. It's not a bad idea, I guess: since you're going to have the suffering anyway, you might as well be grateful for it. Sometimes, though, I think if we didn't expect the suffering, we wouldn't have so much of it.

He doesn't look up as I walk around the desk to him. I place the tip of the blade against the bottom of his chin, as I did the day before in the hall, and I tilt his face toward mine. He shifts his gaze with obvious reluctance. The horror and shame on his face look entirely too real. Suddenly, I am not so sure what to believe. I lean toward him, close enough for a kiss. His eyes widen. The look in his face is some commingling of panic and desire. It is a heady feeling, having power over someone. Over Cardan, who I never thought had any feelings at all. 'You really do want me,' I say, close enough to feel the warmth of his breath as it hitches. 'And you hate it.' I change the angle of the knife, turning it so it's against his neck. He doesn't look nearly as alarmed by that as I might expect. Not nearly as alarmed as when I bring my mouth to his.

You were my guest until you drew your very fancy sword. Put it down and by my guest again.' 'Put it down?' says Madoc. 'Very well.' He slams it in to the floor of the brugh. A thunderous sound rocks the palace, a tremor that seems to go through the ground beneath us. The Folk scream. Grimsen cackles, clearly delighted with his own work. A crack forms on the floor, starting where the blade punctured the ground, the fissure widening as it moves toward the dais, splitting the stone. A moment before it reaches the throne, I realise what's about to happen and cover my mouth. Then the ancient throne of Elfhame cracks down the middle, its flowering branches turned in to splinters, its seat obliterated. Sap leaks from the rupture like blood from a wound. 'I have come to give that blade to you,' Madoc says over the screams. Cardan looks at the destruction of the throne in horror. 'Why?

Oedipus the murderer of his father, the husband of his mother, Oedipus the solver of the riddle of the sphinx! What does the secret trinity of these fatal events tell us? There was a very ancient folk belief, especially in Persia, that a wise magus could be born only out of incest. Looking at Oedipus as the solver of riddles and the lover of his own mother, what we have to interpret immediately is the fact that right there where, through prophecy and magical powers, the spell of present and future is broken, that rigid law of individuation and the essential magic of nature in general, an immense natural horror — in this case incest — must have come first as the original cause. For how could we have compelled nature to yield up her secrets, if not for the fact that we fight back against her and win, that is, if not for the fact that we commit unnatural actions? I see this insight stamped out in that dreadful trinity of Oedipus’s fate: the same man who solves the riddle of nature — of that ambiguous sphinx — must also break the most sacred natural laws when he murders his father and marries his mother. Indeed, the myth seems to want to whisper to us that wisdom, and especially Dionysian wisdom, is an unnatural atrocity, that a man who through his knowledge pushes nature into the abyss of destruction also has to experience in himself the disintegration of nature.

Why are you starting there?" Roe asked as he followed the young man curiously. Confused, Jesse looked down at the ground and then at the mule before he shrugged. "This is where I always start," he said. "This is where Pa showed me to start." Roe shook his head. "Well, that doesn't make sense, Jesse. You should start at the edge and go to the edge." Jesse gazed at one edge of the field and then at the other. His brow furrowed in concentration. "That ain't right," he said. "Of course it's right," Roe told him, smiling. "It makes perfect sense. Starting in the middle doesn't make any sense at all." Jesse bit his lip nervously as again he surveyed the field. "We got to start right here, Roe. I know we do." Roe sighed and shook his head. "Now, Jesse, you just told me yourself that I was smarter than folks around here. And I told you that a smart man can make light work of his labors. You do believe that, don't you?" Jesse nodded solemnly. "Then you've got to trust me when I tell you that the place to begin is at the beginning, not in the middle." To Roe's horror, tears welled up in Jesse's bright blue eyes. "We got to start right here," he insisted. "This is where Pa taught me to start and it's the way I know." Alarmed at the young man's emotion, Roe voluntarily touched his shoulder in an uncertain attempt to comfort him. "It's all right, Jesse. Don't cry," he said. "I ain't crying," the young man insisted through his tears. "I'm too big to cry.

What we have so often preached at home about the essence of the enemy coalition has now been confirmed: it is a devilish pact between democratic capitalism and Jewish Bolshevism. All nations whose statesmen have signed this pact will sooner or later become the victims of the demonic spirits they have summoned. Let there be no doubt that National Socialist Germany will wage this fight for as long as it takes for this historic turn of events to come about here, too, and this will happen still this year. No power on earth will make us weak at heart. They have destroyed so many of our beautiful, magnificent, and sacred things that there remains only one mission in our lives: to create a state that will rebuild what they have destroyed. Therefore, it is our duty to preserve the freedom of the German nation for the future and not allow German manpower to be abducted to Siberia, but to deploy it for the rebuilding and dedicate it to the service of our own Volk. They have taught us so many horrible things that there is no more horror for us. What the homeland must endure is dreadful, what the front must accomplish is superhuman. Yet when, in the face of such pain, a whole nation proves itself as reliable as the German Volk, then Providence cannot and will not deny its right to live in the end. As always in history, it will reward its steadfastness with the prize of earthly existence. Since so many of our possessions have been destroyed, this can only reinforce us in our fanatical determination to see our enemies a thousand times over as what they truly are: destroyers of an eternal civilization and annihilators of mankind! And out of this hatred will grow a sacred will: to oppose these annihilators of our existence with all the strength God has given us and defeat them in the end. Adolf Hitler - proclamation to the German Folk Fuhrer Headquarters, February 24, 1945

-jeez, these guys, with their on-again, off-again rela­tionships, lutgen said; -Yeah, Dave said: now you see them, now you see them once more; -They're virtual insects!, Jurgen said; -Virtually innumerable, said Dave; -I wonder, though, if we haven't got it wrong, Jurgen said: I mean, I wonder if maybe these guys' natural condition isn't to be lit up-if their ground state isn't actually when they're glowing; -Hm, said Dave: so what they're actually doing is turning off their lights­ -Right: momentarily going under; -Flashing darkness­ -Projecting their inner voids­ -Their repeating, periodic depressions ... -So then, I suppose, we should really call them douse bugs---;. -Exactly... -Or nature's faders---;. -Flying extinguishers­ -Buzzing snuffers-! -Or maybe­ -Or maybe, despite what it looks like, maybe they really are glowing constantly, Jurgen said: but, through some malign unknown mechanism, their everlasting light is peri­odically swallowed up by un-understood atmospheric forces; -So then they're being occluded­ -Rudely occluded­ -Denied their God-given right to shine ... -So that, I suppose, would make them-o horror-victims­ -Yeah: victims of predatory darkness­ -Of uncontrollable flares of night; -So it isn't bioluminescence, but eco-eclipsis­ -Exactly: ambient effacement­ -Nature's station-identification­ -Ongoing lessons in humility ... -In fact, that might explain the nits' efficiency factor, Jurgen Said: you know, these guys burn so cleanly that they produce what's known in the trade as cold light they put together this real slow oxidation reaction within these little cell-structures called photocytes, using a really weird enzyme and substrate that're, like, named for the devil; and the result is virtually 100% efficient: almost no heat is lost at all... -So, in fact, these folks should be our heroes­ -Exactly: our role models­ -Our ego ideals---;. -Hosts of syndicated talk shows­ -Spokes-things for massive advertising campaigns---;. -In fact, children should be forced to leave their families and go be raised by them­-MacArthur winners, all...

The language, in fact, was Danish. After a moment, Nilsson recognized the lyrics, Jacobsen’s Songs of Gurre, and Schönberg’s melodies for them. The call of King Valdemar’s men, raised from their coffins to follow him on the spectral ride that he was condemned to lead, snarled forth. “Be greeted, King, here by Gurre Lake! Across the island our hunt we take, From stringless bow let the arrow fly That we have aimed with a sightless eye. We chase and strike at the shadow hart, And dew like blood from the wound will start. Night raven swinging And darkly winging, And leafage foaming where hoofs are ringing, So shall we hunt ev’ry night, they say, Until that hunt on the Judgment Day. Holla, horse, and holla, hound, Stop awhile upon this ground! Here’s the castle which erstwhile was. Feed your horses on thistledown; Man may eat of his own renown.” She started to go on with the next stanza, Valdemar’s cry to his lost darling; but she faltered and went directly to his men’s words as dawn breaks over them. “The cock lifts up his head to crow, Has the day within him, And morning dew is running red With rust, from off our swords. Past is the moment! Graves are calling with open mouths, And earth sucks down ev’ry light-shy horror. Sink ye, sink ye! Strong and radiant, life comes forth With deeds and hammering pulses. And we are death folk, Sorrow and death folk, Anguish and death folk. To graves! To graves! To dream-bewildered sleep— Oh, could we but rest peaceful!

Murrell’s barn was stuffy hot that night, and the back of my neck stuck to the shirt collar with sweat. I ran a checkered sleeve across my forehead and it came away damp and grimy, though I still felt my best in over two years, since that terrible day at the revival.

Up ahead, a shadowy building loomed. It looked more like a gothic cathedral than a school, with grossly elongated black spires jutting into the night sky. They unnerved Tony. Somehow, they resembled horns silhouetted against the moon. He counted ten of these protuberances, each with an arrowhead as its tip. Tony found the structure difficult to make his mind up about. It was beautiful, that was for sure, but its beauty was intermingled with an ill-masked sense of horror. The black exterior had a pair of peculiar projections on either side of the building resembling a bat's wings. His feet on concrete now, he pulled up to a webbed gate— also reminiscent of a bats with the hind, bone-like array supporting an oily black, translucent texture. He saw some girls a few dozen feet from the gate at the entrance of the building. They were garbed in black sailor fuku skirts too high above the knees to facilitate concentration upon anything academic. The males were also dressed in black corduroy pants and black dress shirt. A throng by the massive doors stared holes through them as they approached. Up close, he noted some of the girls were quite pale, sporting piercings and tattoos on their necks and hands. He even saw one with a spider web inked on the side of her face. When he followed Silver Man into the building— his toes squeaking in his soaked shoes—he was awed by the aesthetics. There was a rather large gathering in the hall that looked more like large shadows with all the children in black. Tony felt out of place in his brown pants and long sleeved white shirt. The hall was bleak; the only source of illumination was a pair of horizontal cylindrical lamps set upon wooden rafters near the ceiling. Silver Man proceeded toward the platform where Tony could just make out the form of a thin man donning a monocle. He looked like an old scientist. He was sitting cross-legged, stroking his chest-length pearl white beard. The man appeared to be watching them as they progressed through the hall. Then he stood as they neared the stage, now caressing his bald head. He had a monkish appearance. His black robe— quite similar to the one Silver Man wore— was tied at the waist by a red cloth. The bald, monocled man extended a spindly hand which Silver Man gave a firm tug before leaning in and whispering something. The man nodded, turning to Tony. Tony flinched as he regarded him through his peculiar eyewear: a single gold-rimmed, circular lens. He now folded himself into an accentuated bow. "Listen up folks!" he shouted. Tony saw the students rushing inside the castle pell-mell, summoned by the voice of the bespectacled man. “We have a late recruit ladies and gentlemen,” the man said. His voice was much stronger than his thin frame suggested. “Join me as I induct him into the hallowed spirit of Imajinaereum.

[…] Although it’s hard to imagine it now, there was a time when horror was nearly unrivaled in popularity with the general reader. In the 1970s and ’80s, local bookstores had whole shelves devoted to it. You couldn’t miss them: they were the ones stocked between Mystery and Fantasy/Sci-Fi, with all the black and red covers, the raised titles dripping blood, and the leering skeletons. Lots and lots of skeletons. These books had notoriously short shelf lives, but because there was such a demand for them—owing largely to the success of books like The Exorcist and writers like Stephen King, Anne Rice, and Peter Straub—it was possible to hack a living if you could turn them out fast enough. A lot of folks tried their hand, and a lot of bad books were published. So many that the market eventually collapsed under its own weight. Among those bad books, though, were some truly great ones written by great writers—writers like Ramsey Campbell, Robert R. McCammon, and Chelsea Quinn Yarbro, to name just three—who delivered lasting contributions to the genre. While it would be nice to think that all the deserving books were saved from being swept away in the vast tide, that just wasn’t the case. [...] Excerpt from ”Introduction” to Michael McDowell’s ”Blackwater: The Complete Saga” (2017, Kindle edition)

She couldn't imagine how they'd done it, with their parents' bodies cooling downstairs. She couldn't imagine how it had felt, and as the years went by, she couldn't make herself feel it again. The horror of the murders dulled with time. Her memories of the day blurred.

I sometimes find myself looking at a young child with little short of awe, sir, knowing that within its mind is a scene of peace and paradise of which we older folk have no notion, and which will fade away out of it, as life wears on, like the mere tabernacling of a dream.

It was odd, how everyone spoke of it, as though it were one single event. The time when the county had turned upside down and all rules of logic were discarded out of the windows of reason. It had all began when Tony Anderson was taken to the hospital for drunkenly shooting up his house. That one single night, seemed to unleash something rather otherworldly on the community. It was then that the autumn harvests began to mysteriously die and wither. It was then that hushed rumors began about deformed cattle, milk curdled and sour eggs were yielded from the chickens. When people began speaking of shadows lurking in their hallways, and voices outside of their windows at night.

There’s something uncanny about suspending disbelief and at the same time seeing the puppet’s strings.

There are many, I think, who eat dry crusts and drink water, with a joy infinitely sharper than anything within the experience of the ‘practical’ epicure.” “You are speaking of the saints?” “Yes, and of the sinners, too. I think you are falling into the very general error of confining the spiritual world to the supremely good; but the supremely wicked, necessarily, have their portion in it. The merely carnal, sensual man can no more be a great sinner than he can be a great saint. Most of us are just indifferent, mixed-up creatures; we muddle through the world without realizing the meaning and the inner sense of things, and, consequently, our wickedness and our goodness are alike second-rate, unimportant.” “And you think the great sinner, then, will be an ascetic, as well as the great saint?” “Great people of all kinds forsake the imperfect copies and go to the perfect originals. I have no doubt but that many of the very highest among the saints have never done a ‘good action’ (using the words in their ordinary sense). And, on the other hand, there have been those who have sounded the very depths of sin, who all their lives have never done an ‘ill deed.’” He went out of the room for a moment, and Cotgrave, in high delight

I’d warrant that one of the greatest horrors of all, for so many, will not be what you actually live, eat and sleep inside, and call home, but what lives next door to you. The neighbours.

Even if he could have managed to talk his way inside, there was no way he could overpower anyone. All he had was the element of surprise. He had found the axe embedded in some logs in a small shed outside. He could see the occupants through the patio doors. The doors hadn’t even been locked. Old folk. Too trusting. Oblivious to the horrors that could be lurking outside, even here, in the middle of nowhere.

Optical fatigue-“ Tallant Began. “Sure. I know every man to his own legend. There isn’t a tribe of Indians hasn’t some accounting for it. You’ve heard of the Watchers? And the twentieth century white-man comes along and it is optical fatigue. Only in the nineteeth century things weren’t quite the same and there were the Carkers.” “You got a special localized legend?” “Call it that. You glimpse things out of the corner of your mind, like you glimpse lean, dry things out of the corner of your eye. You encase them in solid circumstance and thy’re not so bad. That is the growth of the legend. The Folk Mind in Action. You take Carkers and the things you don’t see and you put them together. And they bite.

The Spirit of Dark and Lonely Water,

gurning,

You mean ‘knucklebones,’ that’s what they’s called, what the game’s called.” He’d played it himself with funny-shaped metal pieces, but it felt wicked using real bones from somebody’s hands.

My wounded hand flies to cover my mouth in horror at the curse, as though to stop the scream, but I don't scream. I haven't screamed this whole time, and I am not going to start now, when there's nothing more to scream about.

Lil-' he says, voice sounding soft and scratchy, but speaking. He's conscious. Awake. Healed. He grabs hold of the Bomb's hand. 'I'm dying,' he says. 'The poison- I was foolish. I don't have long.' 'You're not dying,' she says. 'There's something I could never tell you while I lived,' he says, pulling her closer to him. 'I love you, Liliver. I've loved you from the first hour of our meeting. I loved you and despaired. Before I die, I want you to know that.' The Ghost's eyebrows rise, and he glances at me. I grin. With both of us on the floor, I doubt the Roach has any idea we're there. Besides, he's too busy looking at the Bomb's shocked face. 'I never wanted-' he begins, then bites off the words, clearly reading her expression as horror. 'You don't have to say anything in return. But before I die-' 'You're not dying,' she says again,, and this time he seems to actually hear her. 'I see.' His face suffuses with shame. 'I shouldn't have spoken.' I creep toward the kitchen, the Ghost behind me. As we head toward the door, I hear the Bomb's soft voice. 'If you hadn't,' she says, 'then I couldn't tell you that your feelings are returned.' Outside, the Ghost and I walk toward the palace, looking up at the stars. I think about how much cleverer the Bomb is than I am, because when she had her chance, she took it. She told him how she felt. I failed to tell Cardan. And now I never can.

Lil-' he says, voice sounding soft and scratchy, but speaking. He's conscious. Awake. Healed. He grabs hold of the Bomb's hand. 'I'm dying,' he says. 'The poison- I was foolish. I don't have long.' 'You're not dying,' she says. 'There's something I could never tell you while I lived,' he says, pulling her closer to him. 'I love you, Liliver. I've loved you from the first hour of our meeting. I loved you and despaired. Before I die, I want you to know that.' The Ghost's eyebrows rise, and he glances at me. I grin. With both of us on the floor, I doubt the Roach has any idea we're there. Besides, he's too busy looking at the Bomb's shocked face. 'I never wanted-' he begins, then bites off the words, clearly reading her expression as horror. 'You don't have to say anything in return. But before I die-' 'You're not dying,' she says again, and this time he seems to actually hear her. 'I see.' His face suffuses with shame. 'I shouldn't have spoken.' I creep toward the kitchen, the Ghost behind me. As we head toward the door, I hear the Bomb's soft voice. 'If you hadn't,' she says, 'then I couldn't tell you that your feelings are returned.' Outside, the Ghost and I walk toward the palace, looking up at the stars. I think about how much cleverer the Bomb is than I am, because when she had her chance, she took it. She told him how she felt. I failed to tell Cardan. And now I never can.

But do you feel HELD by him, Dani? Does he feel like a HOME to you?

you could have cut a cube of her tone and dropped it in a glass of scotch to bring it down to exactly the right temperature. A little below, actually.

It sometimes seems that her getting into it with Jon is merely judiciously firm parenting, whereas when I do the same thing it’s me being oppressive, or uncool, or basically an asshole.

The old folks say there is only black and white. That may do for their tidy lives, but it doesn’t apply to all of us. We, Supergirls for real and the wretched creature at my feet, live in the gray and the mist. We may never see the stars, but we believe in the dream of them.

Twould take me half a lifetime to describe to you the wonders and the horrors of the future world. The garderobe, what they call the ODEC, is housed within a large chamber—a strange room with mechanical monstrosities and a dreadful buzz in the air as if lightning were always just about to strike, a sound they are all indifferent to, much as I became indifferent to the odors of Southwark. And this chamber in turn is inside a vast building, which is on a street full of vast buildings, in a city of streets with vast buildings. Larger than cathedrals some of them, but without ornament or even shape. Like building blocks for giants, so they are. No imagination or love of beauty at all. Everything functions without human or magical assistance, but I confess most breathlessly that whatever power keeps humanity and its many mechanical servants humming . . . it is far more dazzling than any magic I have ever seen performed. And I tell you straight out: suspicious this makes me, for what is the cause to bring magic back when it has been replaced by something clearly more serviceable? So the first riddle I put my mind to was this: in a world where carriages travel without beasts to pull them, and food is effortlessly abundant, and there is ample light to sunder any darkness, from all manner of peculiar torches, none of them given to burning down a place even if it is all wood, and where all and sundry wear grander clothes than most anyone in London and an astonishing variety what’s more . . . something there must be, some commodity or advantage, that magic can attain but mankind cannot yet. Nothing material can it be, for no magic I ever knew summoned such luxuries for royalty as everyday folk here take as commonplace.

Politics had traditionally been used against black folks, as a means to keep us isolated and excluded, leaving us undereducated, unemployed, and underpaid. I had grandparents who’d lived through the horror of Jim Crow laws and the humiliation of housing discrimination and basically mistrusted authority of any sort.

Everyone has their own belief about what happens to you when you die. I believe we either go to a place of solitude and blissfulness. Or in the worst-case scenario, we go to a place of fire, where there is nothing but huge title waves, constant judgment, destruction, horror, spiritual, mental, and physical agony. Many folks define this as being heaven or hell. I describe hell as being a place where you re-live your worst life experiences, over and over -- into eternity.

Queer folks seem to have an enhanced unconscious awareness of the uncanny, camp, and acts of transgressions.

A silent Library! Can you imagine anything more miserable?" September blinked. "I thought Librarians liked silence! I'm sure someone shushed me on the way in!" "I can't help that I make shushing noises when I walk! It's a far sight better than squeaking loafers! You poor girl, what sort of aged, unfriendly Libraries have you met in your short life? A silent Library is a sad Library. A Library without patrons on whom to pile books and tales and knowing and magazines full of up-to-the-minute politickal fashions and atlases and plays in pentameter! A Library should be full of exclamations! Shouts of delight and horror as the wonders of the world are discovered or the lies of the heavens uncovered or the wild adventures of devil-knows-who sent romping out of the pages. A Library should be full of now-just-a-minutes and that-can't-be-rights and scientifick folk running skelter to prove somebody wrong. It should positively vibrate with laughing at comedies and sobbing at tragedies, it should echo with gasps as decent ladies glimpse indecent things and indecent ladies stumble upon secret and scandalous decencies! A Library should not shush; it should roar!

Scary stories protect us. They have since the beginning of story itself. That's what they were made for. And children, especially, need scary stories. They keep children away dangerous places and dubious people. The old folk stories of nixies kept children away from the edges of dangerous waters. Tales of ghosts to this day keep children away from abandoned, tetanus-filled houses. Stories of the Candy Man keep them from talking to strangers. If we keep children away from scary stories, we are doing them a disservice. These books warn them against things that busy adults might have failed to mention. Moms and Dads and Schools are often afraid to talk about monsters and boogeymen, because they are afraid of scaring the children. But scary books for don't mind doling out a good scare- that's their job, after all, and they do it better than anyone else.