Gothic Dark Quotes

I envy people that know love. That have someone who takes them as they are.

One hand was behind his back, and he held it out, presenting a bouquet of white and smoky purple lilies. “They’re straight from the underworld, by the way. They are everlasting. They won’t die.

The world might indeed be a cursed circle; the snake swallowed its tail and there could be no end, only an eternal ruination and endless devouring.

Later he saw Jesus move from tree to tree in the back of his mind, a wild ragged figure motioning him to turn around and come off into the dark where he might be walking on the water and not know it and then suddenly know it and drown.

I think that our lyrics are definitely dark, but I know for a fact that we pull our inspiration from a million different influences. We listened to everything growing up. Our music isn't just 'opera metal' or 'gothic pop' it's just Evanescence.

I would’ve kissed you bathed in blood, Corvina. If I had a chance to kiss you while a thousand ghosts rose from their graves, I would have kissed you. Don’t doubt that.

Have a look around, my pretty, we are surrounded by Death in all forms – just the two of us are still alive –

All cats are gray in the dark. And besides, her actions have less to do with her, and everything to do with you.

I knew then that I would devote every minute we had left together to making her happy, to repairing the pain I had caused her and returning to her what I never known how to give her. These pages will be our memory until she drows her last breath in my arms and I take her forever and escape at last to a place where neither heaven nor hell will ever be able to find us.

This is not written for the young or the light of heart, not for the tranquil species of men whose souls are content with the simple pleasures of family, church, or profession. Rather, I write to those beings like myself whose existence is compounded by a lurid intermingling of the dark and the light; who can judge rationally and think with reason, yet who feel too keenly and churn with too great a passion; who have an incessant longing for happiness and yet are shadowed by a deep and persistent melancholy—those who grasp gratification where they may, but find no lasting comfort for the soul.

There is a stillness between us, a period of restlessness that ties my stomach in a hangman’s noose. It is this same lack in noise that lives, there! in the darkness of the grave, how it frightens me beyond all things.

This girl who was soft at heart, who was both the vast, dark woods and the glorious light of a full moon, who was angry at all the thousand tiny ways she’d been hurt in her life.

You don’t need a sad soul to feel the beauty of a dead grave Just stay with the pale moon when darkness wants the night to be brave

Don't resent me when I've only just gotten you, please, for I am what makes this world beautiful.

She no longer feared what brewed within her, and she was done making apologies for who she was. Signa would not just burn; she would ignite.

My heart, for unknown reasons, seems to freeze in motion in my chest. I can see he senses it and he holds his pause to enjoy my suffering, prolonging my ignorance. “Viktor, what?

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain.

I was generally pro-bat, except when I was trekking through the dark trying not to think about the dire fate of every horror movie character stupid enough to go into the dark with a flashlight and check the fuses.

It's so hard being goth. You have to have a bad time everywhere.

I am a solitary wave in the dark and desolate sea: and the sparkling glass I drank was drugged with misery.

Halloween is a celebration of the inversion of reality and a necessary Gothic hat-tip to the darker aspects of life, death and ourselves.

Walk with this tomorrow night. If nothing happens, then don’t come back. Forget about us, this place, but if you feel the Nightwalker in you awaken, then return to where you belong. Return to me, and the streets will run red with blood.

If I look like a monster,’ he says roughly, ‘then no one will be surprised when I do monstrous things.

You are not cursed-you are a reaper. You are the night incarnate, the ferrier of souls. You are the bridge between the living and the dead—a caged bird that's ready to fly. So spread your wings, Signa Farrow, because you are limitless. Spread your wings, and oh, how we'll fly.

Must beauty blossom, rooted in decay, And night devour its flaming hues alway?

You were dropped as a child, weren't you?" Varen asked her. "Maybe once or twice," Gwen said, "but at least I wasn't raised by highly literate vampires who, every night just before bed, fed me a steady diet of dark sarcasm and gothic horror fiction." "Every morning before bed," Varen corrected. Stepping forward, he moved toward the headstone. "We slept during the day.

I spend my nights thinking the worst And telling myself that everything's going to work out I keep kicking myself in the mouth Opening up every cut that should be a scar by now

Gray. The overcast skies had the colour of deadened stones, and seemed closer than usually, as though they were phlegmatically observing my every movement with their apathetic emptily blue-less eyes; each tiny drop of hazy rain drifting around resembled transparent molten steel, the pavement looked like it was about to burst into disconsolate tears, even the air itself was gray, so ultimate and ubiquitous that colour was everywhere around me. Gray...

A dark and towering shadow, rising like the phoenix from the ashes...malevolent...omnipotent...The Phantom of the Opera!

There's a certain deeper sort of beauty in the bleak. I see it that bleak is beautiful in part because it is too deathly and grim to fathom itself so.

I had become so quiet and so small in the grass by the pond that I was barely noticeable, hardly there. I sat there watching their living room shining out of the dark beside the pond. It looked like a fairy-tale functioning happily in the post-World War II gothic of America before television crippled the imagination and turned people indoors and away from living out their own fantasies with dignity. Anyway, I just kept getting smaller and smaller beside the pond, more and more unnoticed in the darkening summer grass until I disappeared into the 32 years that have passed since then.

And thus, as a closer and still closer intimacy admitted me more unreservedly into recesses if his spirit, the more bitterly did I perceive the futility of all attempt at cheering a mind from which darkness, as if an inherent positive quality, poured forth upon all objects of the moral and physical universe in one unceasing radiation of gloom.

You call out Gods name one more time while im between your legs, even he wont be able to save you little lamb.

Never give up, Never surrender!!!!! If you think you can't, then you must, if you must, then you can..Tony Robbins

With painstaking rumination, the tips of his fingers grazed over my neck, a deafening silence. I didn't move as his hand paused at the base of my throat. He listened to the arrhythmic beating of my heart, my pulse thumping beneath his fingers. He kissed me along my neckline and throat. I almost burst apart from the longing. My blood burned for him.

These streets belong to us because we decided not to punch the time clock. We decided to see what and f*ck is going on out here when all those other people are going to sleep. So we walk from dusk until dawn and we rule.

Is this it? Johann wondered. The longer fall I was looking for? To know that I was summoned up from the dark ether to do a monster's deeds for Hallandrette's truest son? And when our work is done, I will carry him to the bottom of the sea, where we both belong. Deep beneath the silt our bones will turn to salt.

What if it was my imagination that could open this long-sealed door? And if that key let the terror walk right into my own life, so be it.

The corner of his mouth pulls up in that laughing half-smile. ‘I do so love when you command me.

I cannot ever imagine a time or place in which I will not love you. I am willing to do whatever it takes.

Our fiction is not merely in flight from the physical data of the actual world…it is, bewilderingly and embarrassingly, a gothic fiction, nonrealistic and negative, sadist and melodramatic – a literature of darkness and the grotesque in a land of light and affirmation…our classic [American] literature is a literature of horror for boys

The unknown grayish mystifying forest was benumbed into frost-covered cold, and the tremendous pines towering above the dark marshy soil resembled a gathering of severe mute brothers from a forbidden ancient order worshiping forgotten gods no one had ever heard of outside of the world of secret occult visions.

I want to know what haunts me. The ghosts that obscure my face in the mirror, that speak in my head when I’m trying to think, that pull my hands back when I try to reach out. I know there’s something; I just don’t know what it is yet.

Admirable, however, as the Paris of the present day appears to you, build up and put together again in imagination the Paris of the fifteenth century; look at the light through that surprising host of steeples, towers, and belfries; pour forth amid the immense city, break against the points of its islands, compress within the arches of the bridges, the current of the Seine, with its large patches of green and yellow, more changeable than a serpent's skin; define clearly the Gothic profile of this old Paris upon an horizon of azure, make its contour float in a wintry fog which clings to its innumerable chimneys; drown it in deep night, and observe the extraordinary play of darkness and light in this sombre labyrinth of buildings; throw into it a ray of moonlight, which shall show its faint outline and cause the huge heads of the towers to stand forth from amid the mist; or revert to that dark picture, touch up with shade the thousand acute angles of the spires and gables, and make them stand out, more jagged than a shark's jaw, upon the copper-coloured sky of evening. Now compare the two.

Strength and victory... What he would never praise himself for, but whose loss was his most obsessive fear.

She wants to cut his throat. She wants to kiss him.

Think about the people who come here," Nick says. "Writers and artists, scientists and captains of industry. Think of all they give to the world. Now think of yourself, Jules. What are you? What do you offer? Nothing.

Some rumors said she was a demon from another world. Other rumors said she was death incarnate, someone to remind us of our misdeeds. But no one had said how beautiful she was. No one had mentioned her eyes. The ones that showed color only for a second. A hint of beauty in absolute blackness.

It is not real," he whispered. "This place is only a thought that has grabbed hold of you. It cannot harm you. You are not of this place, and it has no power over you. You do not need it, nor do you owe it your allegiance." I nodded, listening only to his words and not to the rattling of the windows, which had begun as soon as we stepped inside.

I followed the curious intensity behind those dark blue eyes and the moment his eyes changed. Suddenly, my world felt terribly small, like I’d experienced merely a handful of what it had to offer.

A human life is a beautiful thing," he said. "You humans.... you feel. You feel so deeply that it consumes you. There were humans I kept a watch over, though I would blink and they'd be fifty, sixty years older—and the time would come for me to meet them. For the longest time, I pitied them for their short lives. And I admit, Signa, that I have grown more callous with my age. But I have also grown to admire humans. They've such a short time to experience their lives, and so they must feel deeply. They must experience in one life-time things it's taken me an eternity to experience. When I see men like Elijah, rather than feel guilt for what I've done, I remember that he feels sorrow because he loved so deeply. And were I not real, Little Bird, were I not Death, he would never have experienced that love. So which is better? To live forever, or to live and love?

Did you feel it? Did you feel the darkness in their souls and their countless evil deeds? Their fate was to die in my grasp, beneath the sting of my bite.

When the moon was high over the moors, Rhineholt became a dark place with long, lonely corridors whose shadows gave breath to many secrets.

This daemon loves men whose marriage beds have grown cold, so she can set them ablaze.

Darkness doesn't find us on its own, Theia. It is vain. It wants to be invited.

Goodnight my darling one. My dark angel Gabrielle.

A czarownik with a tree for a heart, a meddling house-spirit, a rusałka with a newfound conscience, and Liska herself, a mere village girl, all living under the same semi-sentient roof.

Swelter's eyes meet those of his enemy, and never has there held between four globes of gristle so sinister a hell of hatred. Had the flesh, the fibres, and the bones of the chef and those of Mr Flay been conjured away and away down that dark corridor leaving only their four eyes suspended in mid-air outside the Earl's door, then, surely, they must have reddened to the hue of Mars, reddened and smouldered, and at last broken into flame, so intense was their hatred - broken into flame and circled about one another in ever-narrowing gyres and in swifter and yet swifter flight until, merged into one sizzling globe of ire they must surely have fled, the four in one, leaving a trail of blood behind them in the cold grey air of the corridor, until, screaming as they fly beneath innumerable arches and down the endless passageways of Gormenghast, they found their eyeless bodies once again, and reentrenched themselves in startled sockets.

Penelope had read several novels about such governesses in preparation for her interview and found them chock-full of useful information, although she had no intention of developing romantic feelings for the charming, penniless tutor at a neighboring estate. Or - heaven forbid! - for the darkly handsome, brooding, and extravagantly wealthy master of her own household. Lord Frederick Ashton was newly married in any case, and she had no inkling what his complexion might be

In the fantasy I spun for myself that night before falling asleep, those deep dark secrets were revealed. That simple touch became a violent embrace, worthy of any bodice-ripper. There were a certain number of gleeful perversions committed on Ivan's battered leather sofa. And at some point in the fantasy, Ivan was a vampire, because I was sort of weird that way. He was a real, Gothic-style, Bram Stoker sort of vampire who bit people as a metaphor for having dubious-consent, alpha-male sex with them, I should point out. None of your modern, sensitive vampires for me. I appreciated the classics.

Gormenghast. Withdrawn and ruinous it broods in umbra: the immemorial masonry: the towers, the tracts. Is all corroding? No. Through an avenue of spires a zephyr floats; a bird whistles; a freshet beats away from a choked river. Deep in a fist of stone a doll's hand wriggles, warm rebellious on the frozen palm. A shadow shifts its length. A spider stirs... And darkness winds between the characters. - Gormenghast

Another tug and a yank at my chestnut curls and she snarls at me, “You are so much like her.” This is something my mother often says and never explains. Though it is a great mystery to me it is also a blessing, for she always hurries from the room after saying it.

...my father had been born from the minds of writers. I believed the Great Creator had flown these writers on the backs of thunderbirds to the moon and told them to write me a father. Writers like Mary Shelley, who wrote my father to have a gothic understanding of the tenderness of all monsters. It was Agatha Christie who created the mystery within my father and Edgar Allan Poe who gave darkness to him in ways that lifted him to the flight of the raven. William Shakespeare wrote my father a Romeo heart at the same time Susan Fenimore Cooper composed him to have sympathy toward nature and a longing for paradise to be regained. Emily Dickinson shared her poet self so my father would know the most sacred text of mankind is in the way we do and do not rhyme, leaving John Steinbeck to gift my father a compass in his mind so he would always appreciate he was east of Eden and a little south of heaven. Not to be left out, Sophia Alice Callahan made sure there was a part of my father that would always remain a child of the forest, while Louisa May Alcott penned the loyalty and hope within his soul. It was Theodore Dreiser who was left the task of writing my father the destiny of being an American tragedy only after Shirley Jackson prepared my father for the horrors of that very thing.

She had killed and she had liked it, and he surely would have delighted to see her as she was now. Half-mad and fading fast, every inch the Gothic heroine that he’d envisioned. Ophelia, floating dead in the water and haunted by ghosts. Lilith, crafted from the earth instead of as a subjugate of the flesh, drawn to the fiercely blazing beauty of an angel only to find that the brilliant light singed as cruelly as the fires of hell. A fallen woman, drawn to her Lucifer. A cautionary tale to those who refused to bend to the natural order and fell in love with the wrong kind of man.

Now that's a ghastly moon, not ghostly.

He who writes is the martyr, seen through the eyes of the unassuming doll.

There is absolutely nothing monstrous about being a vampire. In fact, it's quite beautiful.

~ darkness doesn't have to mean evil.

Time is tick, tick, ticking away. How many souls will I capture today? Will they be a challenge or will they be given? Only time will tell as the clock keeps tick, tick, ticking. Your god has arrived with enough hatred for y’all, with enough evil for the big and small, so come one, come all. I will shred your souls and place them in my satchel, call you a settler and make you my peddler. Come one, come all, come stand behind your god. I will lead you into the darkness of Earth's end. Come one, come all, my wilted flowers, come claim your title, speak out and cheer it. Come one, come all, let’s have a ball, my wilted flowers . . . Sweet, Unconquerable Spirits.

Dark Meat, she thought. Nothing but meat, she was the equivalent of a cut of beef inspected by the butcher and wrapped up in waxed paper. An exotic little something to stir the loins and the mouth water.

He stood at the foot of the grave, gloved hands clasped behind him, his dark clothes and hair blending into one black silhouette, as if he were not a presence but an absence, a hole cut out of the landscape.

No. There was too much to do—finish my damn book, find Jane, find my father, write it all right again—to stay locked up here like some tragic orphan girl in a Gothic novel. Plus, if I stayed past dark I was three quarters certain a vampire would climb through my window and eat me.

Water fell from the sky and dripped from the branches, streaming down the gully of the trail. I walked beneath the enormous trees, the forest canopy high above me, the bushes and low-growing plants that edged the trail soaking me as I brushed past. Wet and miserable as it was, the forest was magical—Gothic in its green grandiosity, both luminous and dark, so lavish in its fecundity that it looked surreal, as if I were walking through a fairy tale rather than the actual world.

THE MOON AND THE YEW TREE This is the light of the mind, cold and planetary. The trees of the mind are black. The light is blue. The grasses unload their griefs on my feet as if I were God, Prickling my ankles and murmuring of their humility. Fumy, spiritous mists inhabit this place Separated from my house by a row of headstones. I simply cannot see where there is to get to. The moon is no door. It is a face in its own right, White as a knuckle and terribly upset. It drags the sea after it like a dark crime; it is quiet With the O-gape of complete despair. I live here. Twice on Sunday, the bells startle the sky Eight great tongues affirming the Resurrection. At the end, they soberly bong out their names. The yew tree points up. It has a Gothic shape. The eyes lift after it and find the moon. The moon is my mother. She is not sweet like Mary. Her blue garments unloose small bats and owls. How I would like to believe in tenderness The face of the effigy, gentled by candles, Bending, on me in particular, its mild eyes. I have fallen a long way. Clouds are flowering Blue and mystical over the face of the stars. Inside the church, the saints will be all blue, Floating on their delicate feet over the cold pews, Their hands and faces stiff with holiness. The moon sees nothing of this. She is bald and wild. And the message of the yew tree is blackness -- blackness and silence. --written 22 October 1961

We shouldn’t be doing this,” “No, we shouldn’t,” he agreed, thankfully not stopping. “I need to stay away from you. I don’t know what sorcery this is,” he whispered to her, his words floating over her face as he leaned closer, “but I have to stop.

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

Vampires have the ability to control the mind of their prey." - Damian Blackwood, Mrs. Blackwood

I don’t know if I want to be free anymore.” said Coralie in a whisper, “Good, because I don’t know if I wish you to be.” - Damian Blackwood, Mrs. Blackwood

The vampire that I am doesn't stop at my fangs." - Damian Blackwood, Mrs. Blackwood

If one night you ask for my permission to release you so you will be forever free from me, know that I’ll also have the freedom to leave you and never come back.” - Damian Blackwood, Mrs. Blackwood

In the attempt to find the just measure of horror and terror, I came upon the writing of Carole Gill whose work revealed a whole new dimension to me. The figure of the gothic child was there. Stoker's horror was there. Along with the romance! At the heart of her writing one stumbles upon a genuine search for that darkness we lost with the loss of Stoker." ~Dr. Margarita Georgieva ~ Gothic Readings in The Dark

Memories of last night manifested slowly from the back of her brain, every new detail hammering her heart like a war drum: the flowers, the vodka, the persistent dream-like sensation, the closet, the outline of a stranger, the sex... and, most gut-wrenching of all, the sudden realization that he might still be here.

The pine trees were rows of knife-blades whispering: “Fall upon us!” and in the gathering darkness the torrent roared and howled, beating against its rocking prison walls with the frenzy of an everlasting despair. “Padre!” Arthur rose, shuddering, and drew back from the precipice. “It is like hell.” “No, my son,” Montanelli answered softly, “it is only like a human soul.

When I reflect, my dear cousin,' said she, 'on the miserable death of Justine Moritz, I no longer see the world and its works as they before appeared to me. Before, I looked upon the accounts of vice and injustice, that I read in books or heard from others as tales of ancient days or imaginary evils; at least they were remote, and more familiar to reason than to the imagination; but now misery has come home, and men appear to me as monsters thirsting for each other's blood.

It was now autumn, and I made up my mind to make, before winter set in, an excursion across Normandy, a country with which I was not acquainted. It must be borne in mind that I began with Rouen, and for a week I wandered about enthusiastic with admiration, in that picturesque town of the Middle Ages, in that veritable museum of extraordinary Gothic monuments. Well, one afternoon, somewhere about four o'clock, as I happened to be passing down an out-of-the-way by-street, in the middle of which flowed a deep river, black as ink, named the Eau de Robec, my attention wholly directed to examining the bizarre and antique physiognomy of the houses, was all of a sudden attracted by the sight of a series of shops of furniture brokers, one after the other, from door to door along the street. Ah! these second-hand brokers had well chosen their locality, these sordid old traffickers of bric-a-brac, in this fantastic alley leading up from stream of that sinister dark water, under the steep pointed overhanging gables of tiled roofs and projecting shingle eaves, where the weathercocks of the past still creaked overhead. ("Who Knows?")

Beyond this point on the river Cambridge became a kind of miniature Venice, its river water lapping up against the ancient stone of college walls, here mottled and reddened brick, there white stone. Stained, lichened, softened by water light. Here the river became a great north-south tunnel, a gothic castle from the river, flanked by locked iron gates, steps leading nowhere, labyrinths, trapdoors, landing stages where barges had unloaded their freight: crates of fine wines, flour, oats, candles, fine meats carried into the damp darkness of college cellars.

Like Semmering Academy, the Grove School was a Gothic pile of bricks run by 1950s-era chalk drones, which maintained its cultural viability by perpetuating a weirdly seductive anxiety throughout its community. Mary herself was a victim of the seduction; despite the trying and repetitive emotional requirements of her job, she remained eternally fascinated by the wicker-thin girls and their wicker-thin mothers, all of them favoring dark wool skirts and macintoshes and unreadably far-away expressions; if she squinted, they could have emerged intact from any of the last seven decades.

We can go back to the Dark Ages! The crust of learning and good manners and tolerance is so thin! It would just take a few thousand big shells and gas bombs to wipe out all the eager young men, and all the libraries and historical archives and patent offices, all the laboratories and art galleries, all the castles and Periclean temples and Gothic cathedrals, all the cooperative stores and motor factories—every storehouse of learning. No inherent reason why Sissy's grandchildren—if anybody's grandchildren will survive at all—shouldn't be living in caves and heaving rocks at catamounts.

Emily gazed with melancholy awe upon the castle, which she understood to be Montoni's; for, though it was now lighted up by the setting sun, the gothic greatness of its features, and its mouldering walls of dark grey stone, rendered it a gloomy and sublime object. As she gazed, the light died away on its walls, leaving a melancholy purple tint, which spread deeper and deeper, as the thin vapour crept up the mountain, while the battlements above were still tipped with splendour. From those, too, the rays soon faded, and the whole edifice was invested with the solemn duskiness of evening. Silent, lonely, and sublime, it seemed to stand the sovereign of the scene, and to frown defiance on all, who dared to invade its solitary reign. As the twilight deepened, its features became more awful in obscurity, and Emily continued to gaze, till its clustering towers were alone seen, rising over the tops of the woods, beneath whose thick shade the carriages soon after began to ascend.

Then, idly scratching his nose, he walks to the bookcase in the living room and stoops before a set of drab brown Victorian volumes gathering dust on the second shelf from the bottom. How amusing, he thinks, as he withdraws one of them-amusing that a key to dark and ancient rites should survive in such innocuous-looking form. A young fool like Freirs would probably refuse to believe it. Like the rest of his doomed kind, he'd probably expect such lore to be found only in ancient leather-bound tomes with gothic lettering and portentously sinister titles. He'd search for it in mysterious old trunks and private vaults, in the "restricted" sections of libraries, in intricately carved wood chests with secret compartments. But there are no real secrets, the Old One knows. Secrets are ultimately too hard to conceal. The keys to the rites that will transform the world are neither hidden nor rare nor expensive. They are available to anyone. You can find them on the paperback racks or in any second-hand bookshop.

With a mixture of naïveté and British arrogance, she had always thought of London as the center of all culture and knowledge, but Paris was a revelation. The city was astonishingly modern, making London look like a dowdy country cousin. And yet for all its intellectual and social advancements, the streets of Paris were nearly medieval in appearance; dark, narrow and crooked as they twined through arrondissements of artfully shaped buildings. It was a messy, delightful assault to the senses, with architecture that ranged from the gothic spires of ancient churches to the solid grandeur of the Arc de Triomphe.

Two chubby, expressionless boys stand to my right. They were once cute children, but now I imagine that they spend hours in dark rooms looking at violent porn. Or perhaps they have tender reveries about being sweet to the girls that they adore from a distance. I'd like to think about them in a generous light -- that they are actually gentle young men -- but it's hard not to stereotype them as potential serial killers. It's their eerie, still blankness that makes me think they're capable of murder -- and the fact that I'm in the Midwest. The Midwest seems to cultivate serial killing. Must be the boxed in geography. (Jonathan Ames, Middle-American Gothic)

Did I write to you about the storm I watched not long ago? The sea was yellowish, especially close to the shore. On the horizon a streak of light and above it immensely large dark grey clouds, from which one could see the rain coming down in slanting streaks. The wind blew the dust from the little white path among the rocks into the sea and shook the hawthorn bushes in bloom and the wallflowers that grow on the rocks. To the right, fields of young green corn and in the distance the town, which, with it’s towers, mills, slate roofs, Gothic-style houses and the harbour below, between two jetties sticking out into the sea, looked like the towns Albert Durer used to etch.

We were not married; she was not a dark and brooding man. It was hardly a crumbling ancestral manor; just a single-family home, built at the beginning of the Great Depression. No moors, just a golf course. But it was "woman plus habitation," and she was a stranger. That is probably the truest and most gothic part; not because of war or because we'd only met with chaperones before marriage; rather because I didn't know her, not really, until I did. She was a stranger because something essential was shielded, released in tiny bursts until it became a flood-a flood of what I realized I did not know. Afterward, I would mourn her as if she'd died, because something had: someone we had created together.

His room was a sickly dual-tone of crimson and charcoal, like an Untitled Rothko, the colours bleeding into each other horribly and then rather serenely. The overall effect was overwhelmingly unapologetic but it grew on you like a wart on your nose you didn't realise it was a part of your identity until one day it simply was. His room was his identity. Fiercely bold, avant-garde but never monotonous. He was red, he was black, he was bored, and he was fire. At least to me he seemed like fire. A tornado of fire that burned all in its wake leaving only the wretched brightness of annihilation. His room was where he charmed and disarmed us. We were his playthings. Nobody plays with fire and leaves unscarred. The fire soon seeps into chard and soot. The colours of his soul, his aura, and probably his heart if he didn't stop smoking.

Lollipops and raindrops Sunflowers and sun-kissed daisies Rolling surf and raging sea Sailing ships and submarines Old Glory and “purple mountain’s majesty” Screaming guitar and lilting rhyme Flight of fancy and high-steppin’ dances Set free my mind to wander… Imagine the ant’s marching journeys. Fly, in my mind’s eye, on butterfly wings. Roam the distant depths of space. Unfurl tall sails and cross the ocean. Pictures made just to enthrall Creating images from my truth Painting hopes and dreams on my canvas Capturing, through my lens, the ephemeral Let me ruminate ‘pon sensual darkness… Tremble o’er Hollywood’s fluttering Gothics… Ride the edge of my seat with the hero… Weep with the heroine’s desperation. Yet… more than all these things… Give me words spun out masterfully… Terms set out in meter and rhyme… Phrases bent to rattle the soul… Prose that always miraculously inspires me! The trill runs up my spine, as I recall… A touch… a caress…a whispered kiss… Ebony eyes embracing my soul… Two souls united in beat of hearts. A butterfly flutter in my womb My lover’s wonder o’er my swelling The testament of our love given life Newly laid in my lover’s arms Luminous, sweet ebony eyes Just so much like his father’s A gaze of wonder and contentment From my babe at mother’s breast Words of the Divine set down for me Faith, Hope, Love, and Charity Grace, Mercy, and undeserved Salvation “My Shepherd will supply my need” These are the things that inspire me.

Do not fear the ghosts in this house; they are the least of your worries. Personally I find the noises they make reassuring. The creaks and footsteps in the night, their little tricks of hiding things, or moving them, I find endearing, not upsettling. It makes the place feel so much more like a home. Inhabited. Apart from ghosts nothing lives here for long. No cats no mice, no flies, no dreams, no bats. Two days ago I saw a butterfly, a monarch I believe, which danced from room to room and perched on walls and waited near to me. There are no flowers in this empty place, and, scared the butterfly would starve, I forced a window wide, cupped my two hands around her fluttering self, feeling her wings kiss my palms so gentle, and put her out, and watched her fly away. I've little patience with the seasons here, but your arrival eased this winter's chill. Please, wander round. Explore it all you wish. I've broken with tradition on some points. If there is one locked room here, you'll never know. You'll not find in the cellar's fireplace old bones or hair. You'll find no blood. Regard: just tools, a washing-machine, a drier, a water-heater, and a chain of keys. Nothing that can alarm you. Nothing dark. I may be grim, perhaps, but only just as grim as any man who suffered such affairs. Misfortune, carelessness or pain, what matters is the loss. You'll see the heartbreak linger in my eyes, and dream of making me forget what came before you walked into the hallway of this house. Bringing a little summer in your glance, and with your smile. While you are here, of course, you will hear the ghosts, always a room away, and you may wake beside me in the night, knowing that there's a space without a door, knowing that there's a place that's locked but isn't there. Hearing them scuffle, echo, thump and pound. If you are wise you'll run into the night, fluttering away into the cold, wearing perhaps the laciest of shifts. The lane's hard flints will cut your feet all bloody as you run, so, if I wished, I could just follow you, tasting the blood and oceans of your tears. I'll wait instead, here in my private place, and soon I'll put a candle in the window, love, to light your way back home. The world flutters like insects. I think this is how I shall remember you, my head between the white swell of your breasts, listening to the chambers of your heart.

Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.

Lily Chadwick knew there was something different about the fiercely scowling gentleman the first moment she saw him. She could feel it. The instant their gazes met, caught, held, something skittered across her skin like a rain of white sparks. It entered her bloodstream, heating her from the inside until her breath became stilted and her knees went alarmingly weak. He stared at her from beneath a brow drawn low in a forbidding expression. His eyes were so dark, even the light of the glittering ballroom could not be reflected there. The angles of his face were hard, his jaw sharply defined, and he held his mouth in a harsh line that attempted to harden the full curve of his lower lip but didn't quite manage it. Lily tried to glance away demurely, but she couldn't seem to manage. She felt a flutter that became a tightening in her belly. Her heart stopped, skipped a few beats, then started up again in a frantic rhythm as he just kept watching her. Despite his severe, aloof appearance, something about him reached out to her, touching her with an intrinsic sort of recognition. It left her feeling as though she stood in the heart of a firestorm. She sensed with a certainty beyond rational explanation that his unyielding manner was a facade, as if he were a hero in some gothic novel. There was passion in him. She felt it in every quickened, prey-like breath she took while frozen under his intent stare. The silent interaction between them was becoming more inappropriate by the minute, yet she could not compel herself to break away. As though caught in an invisible trap, she stared back at him while her hands began to sweat and her stomach trembled.

Crossing my arms over my chest, I said, a little too heartily, “So this is the library.” There certainly couldn’t be any doubt on that score; never had a room so resembled popular preconception. The walls were paneled in rich, dark wood, although the finish had worn off the edges in spots, where books had scraped against the wood in passing one too many times. A whimsical iron staircase curved to the balcony, the steps narrowing into pie-shaped wedges that promised a broken neck to the unwary. I tilted my head back, dizzied by the sheer number of books, row upon row, more than the most devoted bibliophile could hope to consume in a lifetime of reading. In one corner, a pile of crumbling paperbacks—James Bond, I noticed, squinting sideways, in splashy seventies covers—struck a slightly incongruous note. I spotted a moldering pile of Country Life cheek by jowl with a complete set of Trevelyan’s History of England in the original Victorian bindings. The air was rich with the smell of decaying paper and old leather bindings. Downstairs, where I stood with Colin, the shelves made way for four tall windows, two to the east and two to the north, all hung with rich red draperies checked with blue, in the obverse of the red-flecked blue carpet. On the west wall, the bookshelves surrendered pride of place to a massive fireplace, topped with a carved hood to make Ivanhoe proud, and large enough to roast a serf. In short, the library was a Gothic fantasy.