Hammer Horror Quotes

For a moment everything was clear, and when that happens you see that the world is barely there at all. Don't we all secretly know this? It's a perfectly balanced mechanism of shouts and echoes pretending to be wheels and cogs, a dreamclock chiming beneath a mystery-glass we call life. Behind it? Below it and around it? Chaos, storms. Men with hammers, men with knives, men with guns. Women who twist what they cannot dominate and belittle what they cannot understand. A universe of horror and loss surrounding a single lighted stage where mortals dance in defiance of the dark.

H. L Mencken's Dictionary of the American Language supplies a long list of slang terms for being drunk, but the Irish are no slouches, either. They're spannered, rat-arsed, cabbaged, and hammered; ruined, legless, scorched, and blottoed; or simply trolleyed or sloshed. In Kerry, you're said to be flamin'; in Waterford, you're in the horrors; and in Cavan, you've gone baloobas, a tough one to wrap your tongue around if you ARE baloobas. In Donegal, you're steamin', while the afflicted in Limerick are out of their tree.

Just look at this life: the insolence and idleness of the strong, the ignorance and brutishness of the weak, impossible poverty all around us, overcrowding, degeneracy, drunkenness, hypocrisy, lies...Yet in all the houses and streets it's quiet, peaceful; of the fifty thousand people who live in town there is not one who would cry out or become loudly indignant. We see those who go to the market to buy food, eat during the day, sleep during the night, who talk their nonsense, get married, grow old, complacently drag their dead to the cemetery; but we don't see or hear those who suffer, and the horrors of life go on somewhere behind the scenes. Everything is quiet, peaceful, and only mute statistics protest: so many gone mad, so many buckets drunk, so many children dead of malnutrition... And this order is obviously necessary; obviously the happy man feels good only because the unhappy bear their burden silently, and without that silence happiness would be impossible. It's a general hypnosis. At the door of every happy, contented man somebody should stand with a little hammer, constantly tapping, to remind him that unhappy people exist, that however happy he may be, sooner or later life will show him its claws, some calamity will befall him--illness, poverty, loss--and nobody will hear or see, just as he doesn't hear or see others now. But there is nobody with a little hammer, the happy man lives on, and the petty cares of life stir him only slightly, as wind stirs an aspen--and everything is fine.

[excerpt] The usual I say. Essence. Spirit. Medicine. A taste. I say top shelf. Straight up. A shot. A sip. A nip. I say another round. I say brace yourself. Lift a few. Hoist a few. Work the elbow. Bottoms up. Belly up. Set ‘em up. What’ll it be. Name your poison. I say same again. I say all around. I say my good man. I say my drinking buddy. I say git that in ya. Then a quick one. Then a nightcap. Then throw one back. Then knock one down. Fast & furious I say. Could savage a drink I say. Chug. Chug-a-lug. Gulp. Sauce. Mother’s milk. Everclear. Moonshine. White lightning. Firewater. Hootch. Relief. Now you’re talking I say. Live a little I say. Drain it I say. Kill it I say. Feeling it I say. Wobbly. Breakfast of champions I say. I say candy is dandy but liquor is quicker. I say Houston, we have a drinking problem. I say the cause of, and solution to, all of life’s problems. I say god only knows what I’d be without you. I say thirsty. I say parched. I say wet my whistle. Dying of thirst. Lap it up. Hook me up. Watering hole. Knock a few back. Pound a few down. My office. Out with the boys I say. Unwind I say. Nurse one I say. Apply myself I say. Toasted. Glow. A cold one a tall one a frosty I say. One for the road I say. Two-fisted I say. Never trust a man who doesn’t drink I say. Drink any man under the table I say. Then a binge then a spree then a jag then a bout. Coming home on all fours. Could use a drink I say. A shot of confidence I say. Steady my nerves I say. Drown my sorrows. I say kill for a drink. I say keep ‘em comin’. I say a stiff one. Drink deep drink hard hit the bottle. Two sheets to the wind then. Knackered then. Under the influence then. Half in the bag then. Out of my skull I say. Liquored up. Rip-roaring. Slammed. Fucking jacked. The booze talking. The room spinning. Feeling no pain. Buzzed. Giddy. Silly. Impaired. Intoxicated. Stewed. Juiced. Plotzed. Inebriated. Laminated. Swimming. Elated. Exalted. Debauched. Rock on. Drunk on. Bring it on. Pissed. Then bleary. Then bloodshot. Glassy-eyed. Red-nosed. Dizzy then. Groggy. On a bender I say. On a spree. I say off the wagon. I say on a slip. I say the drink. I say the bottle. I say drinkie-poo. A drink a drunk a drunkard. Swill. Swig. Shitfaced. Fucked up. Stupefied. Incapacitated. Raging. Seeing double. Shitty. Take the edge off I say. That’s better I say. Loaded I say. Wasted. Off my ass. Befuddled. Reeling. Tanked. Punch-drunk. Mean drunk. Maintenance drunk. Sloppy drunk happy drunk weepy drunk blind drunk dead drunk. Serious drinker. Hard drinker. Lush. Drink like a fish. Boozer. Booze hound. Alkie. Sponge. Then muddled. Then woozy. Then clouded. What day is it? Do you know me? Have you seen me? When did I start? Did I ever stop? Slurring. Reeling. Staggering. Overserved they say. Drunk as a skunk they say. Falling down drunk. Crawling down drunk. Drunk & disorderly. I say high tolerance. I say high capacity. They say protective custody. Blitzed. Shattered. Zonked. Annihilated. Blotto. Smashed. Soaked. Screwed. Pickled. Bombed. Stiff. Frazzled. Blasted. Plastered. Hammered. Tore up. Ripped up. Destroyed. Whittled. Plowed. Overcome. Overtaken. Comatose. Dead to the world. The old K.O. The horrors I say. The heebie-jeebies I say. The beast I say. The dt’s. B’jesus & pink elephants. A mindbender. Hittin’ it kinda hard they say. Go easy they say. Last call they say. Quitting time they say. They say shut off. They say dry out. Pass out. Lights out. Blackout. The bottom. The walking wounded. Cross-eyed & painless. Gone to the world. Gone. Gonzo. Wrecked. Sleep it off. Wake up on the floor. End up in the gutter. Off the stuff. Dry. Dry heaves. Gag. White knuckle. Lightweight I say. Hair of the dog I say. Eye-opener I say. A drop I say. A slug. A taste. A swallow. Down the hatch I say. I wouldn’t say no I say. I say whatever he’s having. I say next one’s on me. I say bottoms up. Put it on my tab. I say one more. I say same again

Horror would not annoy a soldier any more than the sight of a hammer annoys a carpenter. It is sentimental to pretend that horror is not the tool of the soldier, just as the hammer is the tool of the carpenter. We live off death and the threat of death and we must take it calmly and use it well.... Eventually I came to enjoy killing, as a pianist enjoys the Czerny which keeps his fingers limber for the Beethoven.

Time passes, her mother said, peeling carrots. No matter what you do. No matter what happens, she said, crushing garlic, hammering the side of her favorite knife with her fist. Beauty or horror, my heart. Turning on the stove. Beauty or horror, it passes.

The funny thing about murder is that the act is often committed decades before the actual action. Something happens, and it leads, inexorably, to death many years later. A bad seed is planted. It’s like those old horror films from the Hammer studios, of the monster, not running, never running, but walking without pause, without thought or mercy, toward its victim. Murder is often like that. It starts way far off.

In that time while he was still aware, which was the worse, I wonder: the agony of his physical torture or the horror of their utter hatred, of their moral certainty that he was so beyond the bounds of what they could accept that he deserved not just a death but one of such brutality, such inhumanity, as would make the seraphs who burned Sodom bow their heads in cold respect? What is it like, I wonder, to learn the full capacity of hatred in a lesson hammered home with bone broken on wood and skin ripped on barbed wire?

Wielding a hammer, however, you’re at the very heart of the experience, being flooded with wonderful sensations that simply can’t be yours if you use a firearm. Now, you might be asking yourself how I came to discover the splendors of hammer attack. I’ll tell you. You won’t want to hear it, though.

The real problem here is that we’re all dying. All of us. Every day the cells weaken and the fibres stretch and the heart gets closer to its last beat. The real cost of living is dying, and we’re spending days like millionaires: a week here, a month there, casually spunked until all you have left are the two pennies on your eyes. Personally, I like the fact we’re going to die. There’s nothing more exhilarating than waking up every morning and going ‘WOW! THIS IS IT! THIS IS REALLY IT!’ It focuses the mind wonderfully. It makes you love vividly, work intensely, and realise that, in the scheme of things, you really don’t have time to sit on the sofa in your pants watching Homes Under the Hammer. Death is not a release, but an incentive. The more focused you are on your death, the more righteously you live your life. My traditional closing-time rant – after the one where I cry that they closed that amazing chippy on Tollington Road; the one that did the pickled eggs – is that humans still believe in an afterlife. I genuinely think it’s the biggest philosophical problem the earth faces. Even avowedly non-religious people think they’ll be meeting up with nana and their dead dog, Crackers, when they finally keel over. Everyone thinks they’re getting a harp. But believing in an afterlife totally negates your current existence. It’s like an insidious and destabilising mental illness. Underneath every day – every action, every word – you think it doesn’t really matter if you screw up this time around because you can just sort it all out in paradise. You make it up with your parents, and become a better person and lose that final stone in heaven. And learn how to speak French. You’ll have time, after all! It’s eternity! And you’ll have wings, and it’ll be sunny! So, really, who cares what you do now? This is really just some lacklustre waiting room you’re only going to be in for 20 minutes, during which you will have no wings at all, and are forced to walk around, on your feet, like pigs do. If we wonder why people are so apathetic and casual about every eminently avoidable horror in the world – famine, war, disease, the seas gradually turning piss-yellow and filling with ringpulls and shattered fax machines – it’s right there. Heaven. The biggest waste of our time we ever invented, outside of jigsaws. Only when the majority of the people on this planet believe – absolutely – that they are dying, minute by minute, will we actually start behaving like fully sentient, rational and compassionate beings. For whilst the appeal of ‘being good’ is strong, the terror of hurtling, unstoppably, into unending nullity is a lot more effective. I’m really holding out for us all to get The Fear. The Fear is my Second Coming. When everyone in the world admits they’re going to die, we’ll really start getting some stuff done.

You see you can use a hammer to build a house or crack a skull. (Isaac The Forgemaster)

The customers were mainly people middle-aged or older, and they’d probably take a sledge hammer to anything that spewed out the top forty. This was Lawrence Welk country. A wild tune was a polka.

The metal thing was hammered and shaped half-crescent, half-cross.Around the rim of the main rod little curlicues and doohingies had been soldered on, later. The entire surface of the rod was finely scratched and etched with strange languages, names that could tie the tongue or break the jaw, numerals that added to incomprehensible sums, pictographs of insect animals all bristle, chaff, and claw" (Bradbury 6). In this quote, Bradbury is giving us and showing what the character is describing, In this case, it is an Egyptian Scarab. How the quote was described was to attract the eyes of Jim, or even the readers.

For a moment everything was clear, and when that happens you see that the world is barely there at all. Don’t we all secretly know this? It’s a perfectly balanced mechanism of shouts and echoes pretending to be wheels and cogs, a dreamclock chiming beneath a mystery-glass we call life. Behind it? Below it and around it? Chaos, storms. Men with hammers, men with knives, men with guns. Women who twist what they cannot dominate and belittle what they cannot understand. A universe of horror and loss surrounding a single lighted stage where

Yes, it’s too much to ask,” Alexander said when he returned with no ice (“Tomorrow”) but with an ax, a hammer and nails, a saw, a wood plane, and a kerosene-burning Primus stove. “I didn’t marry you so we could go over there every night.” He laughed. “You invited them inside? That’s very brave of you, my wife. Did you at least make the bed before they came in?” He laughed harder. Tatiana was sitting down on the cool iron hearth, shaking her head. “You’re just impossible.” “I’m impossible? I’m not going there for dinner, forget it. Why don’t you just invite them here afterward then, for the post-dinner vaudeville—” “Vaudeville?” “Never mind.” He dropped all of his goods on the floor in the corner of the cabin. “Invite them here for the entertainment hour. Go ahead. As I make love to you, they can walk around the hearth, clucking to their hearts’ content. Naira will say, ‘Tsk, tsk, tsk. I told her to go with my Vova. I know he could do it better.’ Raisa will want to say, ‘Oh, my, oh, my,’ but she’ll be shaking too much. Dusia will say, ‘Oh, dear Jesus, I prayed to You to spare her from the horrors of the marriage bed!’ And Axinya will say—” “‘Wait till I tell the whole village about his horrors,’” said Tatiana. Alexander laughed and then went to the water to swim.

Dirk tried to imagine what might happen if—to pick a name quite at random—the God Thor, he of the Norwegian ancestry and the great hammer, were to arrive at the passport office and try to explain who he was and how come he had no birth certificate. There would be no shock, no horror, no loud exclamations of astonishment, just blank, bureaucratic impossibility. It wouldn’t be a matter of whether anybody believed him or not, it would simply be a question of producing a valid birth certificate. He could stand there wreaking miracles all day if he liked but at close of business, if he didn’t have a valid birth certificate, he would simply be asked to leave. And

The Butcher's egoless brutality, hammered linear by what she could not know, less than primitive, was for all its horror, still human. Though bloody handed, he was safer than the precision of the world linguistically corrected...Jebel's cruelties, kindnesses, existed in the articulate limits of civilization. But this red bestiality - fascinated her!

It’s all of a piece, I thought. It’s an echo so close to perfect you can’t tell which one is the living voice and which is the ghost-voice returning. For a moment everything was clear, and when that happens you see that the world is barely there at all. Don’t we all secretly know this? It’s a perfectly balanced mechanism of shouts and echoes pretending to be wheels and cogs, a dreamclock chiming beneath a mystery-glass we call life. Behind it? Below it and around it? Chaos, storms. Men with hammers, men with knives, men with guns. Women who twist what they cannot dominate and belittle what they cannot understand. A universe of horror and loss surrounding a single lighted stage where mortals dance in defiance of the dark. Mike

Nothing takes the edge off a stressful day better than watching someone getting decapitated by an ax murderer. When I’m feeling a little depressed, nothing blows away the blues like hearing the screams of an unlucky hunter while mutated bears shred him into mulch. Just the thought of someone unable to get their car engine to start while their undead relative smacks the windshield with a hammer drops my anxiety to a manageable level.

There was a note on the table.” “Bring it here,” Van Eck barked. The boy strode down the aisle, and Van Eck snatched the note from his hand. “What does it … what does it say?” asked Bajan. His voice was tremulous. Maybe Inej had been right about Alys and the music teacher. Van Eck backhanded him. “If I find out you knew anything about this—” “I didn’t!” Bajan cried. “I knew nothing. I followed your orders to the letter!” Van Eck crumpled the note in his fist, but not before Inej made out the words in Kaz’s jagged, unmistakable hand: Noon tomorrow. Goedmedbridge. With her knives. “The note was weighted down with this.” The boy reached into his pocket and drew out a tie pin—a fat ruby surrounded by golden laurel leaves. Kaz had stolen it from Van Eck back when they’d first been hired for the Ice Court job. Inej hadn’t had the chance to fence it before they left Ketterdam. Somehow Kaz must have gotten hold of it again. “Brekker,” Van Eck snarled, his voice taut with rage. Inej couldn’t help it. She started to laugh. Van Eck slapped her hard. He grabbed her tunic and shook her so that her bones rattled. “Brekker thinks we’re still playing a game, does he? She is my wife. She carries my heir.” Inej laughed even harder, all the horrors of the past week rising from her chest in giddy peals. She wasn’t sure she could have stopped if she wanted to. “And you were foolish enough to tell Kaz all of that on Vellgeluk.” “Shall I have Franke fetch the mallet and show you just how serious I am?” “Mister Van Eck,” Bajan pleaded. But Inej was done being frightened of this man. Before Van Eck could take another breath, she slammed her forehead upward, shattering his nose. He screamed and released her as blood gushed over his fine mercher suit. Instantly, his guards were on her, pulling her back. “You little wretch,” Van Eck said, holding a monogrammed handkerchief to his face. “You little whore. I’ll take a hammer to both your legs myself—” “Go on, Van Eck, threaten me. Tell me all the little things I am. You lay a finger on me and Kaz Brekker will cut the baby from your pretty wife’s stomach and hang its body from a balcony at the Exchange.” Ugly words, speech that pricked her conscience, but Van Eck deserved the images she’d planted in his mind. Though she didn’t believe Kaz would do such a thing, she felt grateful for each nasty, vicious thing Dirtyhands had done to earn his reputation—a reputation that would haunt Van Eck every second until his wife was returned. “Be silent,” he shouted, spittle flying from his mouth. “You think he won’t?” Inej taunted. She could feel the heat in her cheek from where his hand had struck her, could see the mallet still resting in the guard’s hand. Van Eck had given her fear and she was happy to return it to him. “Vile, ruthless, amoral. Isn’t that why you hired Kaz in the first place? Because he does the things that no one else dares? Go on, Van Eck. Break my legs and see what happens. Dare him.” Had she really believed a merch could outthink Kaz Brekker? Kaz would get her free and then they’d show this man exactly what whores and canal rats could do. “Console yourself,” she said as Van Eck clutched the ragged corner of the table for support. “Even better men can be bested.

He ran from the terror of his own laughter. It snapped at his heels like a cur and simultaneously seemed a thing alive inside him; curdled in his belly, ready to come boiling out at any instant. He ran from the awful sadness of his wife's expression, in that last pathetic instant as she hammered at him uselessly; shattered wrists making empty mittens of her hands. And he ran from the voice at the base of his skull; new like shining steel yet ancient as a dagger, that smirking hiss that made the things it bade him do feel like their own reward. He ran from it, but he thought he knew its name.

You will not say how you are haunted by the faces of the men you killed, how in their last gasp of life they sought your pity and you had none. You will not speak of the boys who died screaming for their mothers while you twisted a blade in their guts and snarled your scorn into their ears. You will not confess that you wake in the night, covered in sweat, heart hammering, shrinking from the memories. You will not talk of that, because that is the horror, and the horror is held in the heart’s hoard, a secret, and to admit it is to admit fear, and we are warriors. We do not fear. We strut. We go to battle like heroes. We stink of shit.

One might say that, until now, the social, cultural, and political framework for knowledge of the Gulag has not been in place. I first became aware of this problem several years ago, when walking across the Charles Bridge, a major tourist attraction in what was then newly democratic Prague. There were buskers and hustlers along the bridge, and, every fifteen feet or so someone was selling precisely what one would expect to find for sale in such a postcard-perfect spot. Paintings of appropriately pretty streets were on display, along with bargain jewelry and 'Prague' key chains. Among the bric-a-brac, one could buy Soviet military paraphernalia: caps, badges, belt buckles, and little pins, the tin Lenin and Brezhnev images that Soviet schoolchildren once pinned to their uniforms. The sight struck me as odd. Most of the people buying the Soviet paraphernalia were Americans and West Europeans. All would be sickened by the thought of wearing a swastika. None objected, however, to wearing the hammer and sickle on a T-shirt or a hat. It was a minor observation, but sometimes, it is through just such minor observations that a cultural mood is best observed. For here, the lesson could not have been clearer: while the symbol of one mass murder fills us with horror, the symbol of another mass murder makes us laugh.

How would an immortal being have a passport? Quite simply, how? Dirk tried to imagine what might happen if—to pick a name quite at random—the God Thor, he of the Norwegian ancestry and the great hammer, were to arrive at the passport office and try to explain who he was and how come he had no birth certificate. There would be no shock, no horror, no loud exclamations of astonishment, just blank, bureaucratic impossibility. It wouldn’t be a matter of whether anybody believed him or not, it would simply be a question of producing a valid birth certificate. He could stand there wreaking miracles all day if he liked but at close of business, if he didn’t have a valid birth certificate, he would simply be asked to leave.

It’s all of a piece, I thought. It’s an echo so close to perfect you can’t tell which one is the living voice and which is the ghost-voice returning. For a moment everything was clear, and when that happens you see that the world is barely there at all. Don’t we all secretly know this? It’s a perfectly balanced mechanism of shouts and echoes pretending to be wheels and cogs, a dreamclock chiming beneath a mystery-glass we call life. Behind it? Below it and around it? Chaos, storms. Men with hammers, men with knives, men with guns. Women who twist what they cannot dominate and belittle what they cannot understand. A universe of horror and loss surrounding a single lighted stage where mortals dance in defiance of the dark.

In my introduction to Warriors, the first of our crossgenre anthologies, I talked about growing up in Bayonne, New Jersey, in the 1950s, a city without a single bookstore. I bought all my reading material at newsstands and the corner “candy shops,” from wire spinner racks. The paperbacks on those spinner racks were not segregated by genre. Everything was jammed in together, a copy of this, two copies of that. You might find The Brothers Karamazov sandwiched between a nurse novel and the latest Mike Hammer yarn from Mickey Spillane. Dorothy Parker and Dorothy Sayers shared rack space with Ralph Ellison and J. D. Salinger. Max Brand rubbed up against Barbara Cartland. A. E. van Vogt, P. G. Wodehouse, and H. P. Lovecraft were crammed in with F. Scott Fitzgerald. Mysteries, Westerns, gothics, ghost stories, classics of English literature, the latest contemporary “literary” novels, and, of course, SF and fantasy and horror—you could find it all on that spinner rack, and ten thousand others like it. I liked it that way. I still do. But in the decades since (too many decades, I fear), publishing has changed, chain bookstores have multiplied, the genre barriers have hardened. I think that’s a pity. Books should broaden us, take us to places we have never been and show us things we’ve never seen, expand our horizons and our way of looking at the world. Limiting your reading to a single genre defeats that. It limits us, makes us smaller. It seemed to me, then as now, that there were good stories and bad stories, and that was the only distinction that truly mattered.

Jake tried to pull away from the clutching hand and went sprawling on the Tick-Tock Man's throne. His eye fell on a pocket which had been sewn into the right-hand arm-rest. Jutting from the elasticized top was the cracked pearl handle of a revolver. "Oh, cully, how you'll suffer!" the Tick-Tock Man whispered ecstatically. The O of surprise had been replaced by a wide, trembling grin. "Oh how you'll suffer! And how happy I'll be to...WHAT--?" The grin slackened and the surprised O began to reappear as Jake pointed the cheesy nickel-plated revolver at him and thumbed back the hammer. The grip on Jake's ankle tightened until it seemed to him that the bones there must snap. "You DASN'T!" Tick-Tock said in a screamy whisper. "Yes I DO," Jake said grimly, and pulled the trigger of the Tick-Tock Man's runout gun. There was a flat crack, much less dramatic than the Schmeisser's Teutonic roar. A small black hole appeared high up on the right side of Tick-Tock's forehead. The Tick-Tock Man went on staring up at Jake, disbelief in his remaining eye. Jake tried to make himself shoot him again and couldn't do it. Suddenly a flap of the Tick-Tock Man's scalp peeled away like old wallpaper and dropped on his right cheek. Roland would have known what this meant; Jake, however, was now almost beyond coherent thought. A dark, panicky horror was spinning across his mind like a tornado funnel. He cringed back in the big chair as the hand on his ankle fell away and the Tick-Tock Man collapsed forward on his face. The door. He had to open the door and let the gunslinger in. Focusing on that and nothing but, Jake let the pearl-handled revolver clatter to the iron grating...

Curtis Bane screamed and though I came around fast and fired in the same motion, he’d already pulled a heater and begun pumping metal at me. We both missed and I was empty, that drum clicking uselessly. I went straight at him. Happily, he too was out of bullets and I closed the gap and slammed the butt of the rifle into his chest. Should’ve knocked him down, but no. The bastard was squat and powerful as a wild animal, thanks to being a coke fiend, no doubt. He ripped the rifle from my grasp and flung it aside. He locked his fists and swung them up into my chin, and it was like getting clobbered with a hammer, and I sprawled into a row of trash cans. Stars zipped through my vision. A leather cosh dropped from his sleeve into his hand and he knew what to do with it all right. He swung it in a short chopping blow at my face and I got my left hand up and the blow snapped my two smallest fingers, and he swung again and I turned my head just enough that it only squashed my ear and you better believe that hurt, but now I’d drawn the sawback bayonet I kept strapped to my hip, a fourteen-inch grooved steel blade with notched and pitted edges—Jesus-fuck who knew how many Yankee boys the Kraut who’d owned it gashed before I did for him—and stabbed it to the guard into Bane’s groin. Took a couple of seconds for Bane to register it was curtains. His face whitened and his mouth slackened, breath steaming in the chill, his evil soul coming untethered. He had lots of gold fillings. He lurched away and I clutched his sleeve awkwardly with my broken hand and rose, twisting the handle of the blade side to side, turning it like a car crank into his guts and bladder, putting my shoulder and hip into it for leverage. He moaned in panic and dropped the cosh and pried at my wrist, but the strength was draining from him and I slammed him against the wall and worked the handle with murderous joy. The cords of his neck went taut and he looked away, as if embarrassed, eyes milky, a doomed petitioner gaping at Hell in all its fiery majesty. I freed the blade with a cork-like pop and blood spurted down his leg in a nice thick stream and he collapsed, folding into himself like a bug does when it dies.

I tilted my head and kissed his cheek.  The whiskers abraded my lips, but I didn’t mind.  I moved lower, finding his lips.  He didn’t resist me, but didn’t join in as he had in the car.  I frowned slightly.  A stab of doubt pierced my heart.  This didn’t feel right, yet.  He still hid from me. Nudging his jaw with my nose, I made room to nuzzle his neck.  My lips skimmed his smooth skin.  His pulse jumped under my mouth.  Finally, he reacted.  Both his hands came up, holding my sides, kneading me, encouraging.  My breath quickened, and my heart hammered.  Yes!  This was right. Something took possession of me.  With one hand, I gripped his hair and tugged it.  He tilted his head to the side and exposed his neck, giving in willingly.  My eyes traced his neck where his pulse skipped erratically.  The beat matched my own.  I couldn’t look away from that clean-shaven spot.  I recalled when he had started shaving it.  He’d known I would need to see it.  For this.  I kissed it lightly and felt him shudder.  Before the shudder ended, I bit him hard on the same spot.  Hard enough to draw blood. The taste of his blood on my tongue broke the hold he had on me and created a new one somewhere deep inside.  I pulled back slightly to look at the small marks I’d left.  They had already begun to heal. The pull he had on me and the euphoria of the moment faded as the horror of what I’d just done washed over me. Clay stared at me in stunned silence...versus his everyday silence.  Behind me, someone moved and called attention to the fact that we still had an audience.  A Claiming typically occurred in private. A deep blush seized my cheeks, and embarrassed tears began to gather.  I wiped the blood from my mouth with a shaky hand.  I didn’t regret Claiming him, but wished we could have talked first.  I needed reassurance.  Would this mean I’d have to quit school?  Would he want me to live in the woods with him?  If he did, I owed it to him to try after everything he’d done for me. Then, a really ugly question floated to the surface.  Had I just forced him? Panic bloomed in my chest.  Before I could scramble off his lap, he reached up and gently stroked my hair.  I froze, hands braced on his chest for stability, ready to flee. “I’ve been waiting for that since the moment I saw you,” he said in a deep and husky voice.  He sounded like a midnight radio DJ. Hearing his perfect voice ignited my temper.  Now, he could talk?  I scowled at him.  The man had the audacity to laugh then scoop me up in his arms. The

Then it will finally be visible to the great majority of people that a human being comes into the world as a highly sensitive creature, and that, from the first day of its life, it learns the nature of good and evil—learning faster, and more effectively, than it ever will again. Only then will we realize with horror, what these tiny, immensely sensitive creatures did learn, and learn indelibly, as they were treated like so much inert matter that their parents—or forefathers—sought to mold into malleable objects. Hammering at this creature as they would at a piece of metal, they finally got the obedient robot they wanted. In the process, they fashioned tyrants and criminals.

In that moment Baja felt something like a hammer blow to his chest. Everyone in those pockets of Air was Felsia to someone. Every life saved there filled someone else with relief and joy. Every life snuffed out was another Katowa, someone somewhere having their heart torn out. Baja could feel the detonator in his hands. The horrible click transferring to his palm as the button depressed. He could feel that terrible shockwave again as the landing pad vanished in fire. He could feel the horror replaced by fear. As some unlucky combinations of events up the shuttle too close to the blast and knocked it from the sky. He could feel all of it so clearly, it was as if it was happening right then, but more than that he felt sorrow. Someone had just tried to do the same thing to his baby girl, had tried to kill her. Not because he hated her, but because she was standing in the path of his political statement. Everyone who had dies on that shuttle had been a Felsia to someone, and with a click of a button he’s killed them. He hadn’t meant to; he’d been trying to save them. That was the little lie that he’d kept close to his heart for months now. But the truth was much worse. Some secret part of him had wanted the shuttle to die, had reveled watching it fall from the sky in flames, had wanted to punish the people trying to take his world away. Except that was a lie, too. The real truth, the truth beneath it all, was that he had wanted to spread his pain around to punish the universe for being a place where his little boy had been killed – to punish other people for being alike when his Katowa was dead. That part of him had watched the shuttle burn and thought now you know how it feels; now you know how I feel. But the people he’d hurt had just saved his daughter because they were the type of people who couldn’t let even their enemies die helpless. The first sob took him by surprise, nearly bending him double with its power. Then he was blind, his eyes filled with water, his throat closed like someone was choking him. He gasped for air, and every gasp turned into another loud sob. …He tried to speak, to reassure (Naomi), but when he tried, the only words he could say were, “I killed them.” He meant the governor and Coop and Kate and the RCE security team, but most of all Katowa. He’d killed his little boy over and over again every time he’d let someone else die to punish them for his son’s death. “I killed them.” “This time you saved them,” Naomi repeated. “These ones you saved.

BETHANY FELT AS little as she thought she could possibly feel without it being nothing and as much as she’d remembered feeling, all at once. It sounded impossible, but it was as though her mind had been split in two when she swung. Part of her cried out in horror at the action she was taking. Part of her screamed with rage. But part of her wanted to do only what made Alvin happy. What would endear her to him, even though she was loosely aware that she shouldn’t feel that way. She was siding with him even though she knew deep down where thoughts are hidden that he was a monster. She would rather be a monster and with him than be dead and nowhere. So when Alvin screamed swing, she felt both horrified and compelled to swing the hammer with all of her might.

sinners . . . I was angry with God . . . I drove myself mad with a desperate disturbed conscience.”4 It is not insignificant that Luther’s own father and mother were both harsh disciplinarians, but regardless of the cause, Luther had clearly internalized a crippling image of God as judge that tormented him until he discovered grace. This message of grace and forgiveness has been a life-changing one to many people over the ages since Luther rediscovered it, but it has often been tragically accompanied by a message of fear and condemnation itself. Luther, for example, preached that one must face the horrors of wrath before one could come to grace. In other words, he believed that everyone needed to be forced to go through the horrible struggle he did before they could hear about grace. Ever since then, there has been a long history of revival preachers who have proclaimed this “pre-gospel” of fear, threat, and condemnation—telling people the bad news so they could then receive the good news, wounding people first, so they could then heal those wounds. The philosophy behind this strategy is that people need to be shaken out of their complacency and made ready to respond to the gospel. This may indeed be true for some, but for others it amounts to little more than abuse, and has resulted in a hurtful image of God being hammered into their heads that has estranged them from God, and driven them away from faith. For a person struggling with moral failure, facing up to their brokenness and realizing that God loves them and died for them despite it is a crucial step towards life. But to tell a person whose sin is self-hatred that they need to face how bad and worthless they are is like making them swallow the wrong prescription medicine—what was healing to the first person,

Casper watched in horror as the beast pounced on the man, biting and ripping him in half with its strong jaws and clawed hands. The miller’s heart pounded in his chest, eyes transfixed in shock. The beast gave a high-pitched shriek. Casper crouched instinctively, hiding among the stinging brush but not touching it—he wouldn’t make that mistake again. The beast sniffed the gory mess spread across the desert floor but didn’t eat it. Instead it huffed and melted into the sand. Casper stared at what used to be a fellow Waylander, now a bloody pile of meat on the desert floor. The buzzards descended quickly on the feast. Casper’s heart hammered, and his mind raced. To die in the Netherworld was to be lost forever. That poor man had just been erased from existence eternally.

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

The name of the film was Gore Feast. True to its name, Gore Feast had been moving along at a ferocious clip, serving up fresh bodies to mutilate at regular five-minute intervals. Heads staved in with hammers. Eyes turned to pudding with eggbeaters. Torsos dangling from meathooks. Brains in blenders. Kidney pie. It made Rudy very hungry indeed.

Take a lesson from the carpenter, who, when he wishes to drive a large nail, is not satisfied with giving it a few strokes, but continues hammering until he is sure it is firmly fastened. You must imitate him, if you would firmly implant this resolution in your soul. Be not satisfied with renewing it from time to time, but daily take advantage of all the opportunities afforded you in meditation, in reading, in what you see or hear, to fix this horror of sin more deeply in your soul.

What’s the matter, chile? The debil chasin’ after you?” Emma paused to take a deep breath and recover her dignity. “Yes,” she said. “Do you know where Chloe put Mr. Fair—Steven’s pistol?” “She done locked it up in her desk drawer with the derringer. Why? You gonna give it back to him?” Emma nodded, then proceeded toward the hallway. “I most certainly am.” “Why you wanna do that?” Daisy fussed, following her out of the kitchen and into Chloe’s study. Finding the key in its customary hiding place, Emma unlocked Chloe’s desk and lifted the formidable Colt .45 gingerly from its depths. “There’s always the hope that he’ll shoot himself,” she said cheerfully. Daisy shrank back against the doorway. “Miss Emma, you put that thing down right now, or I’s gonna take you over my knee and paddle you!” Emma raised the gun and sited in on a book shelf across the room. She wondered what it would be like to fire the weapon. In the next instant she found out, for the gun went off with no intentional help from Emma, and several of Chloe’s leatherbound books exploded into a single smoldering tangle of paper. Daisy screamed and so did Emma, who dropped the gun in horror only to have it fire again, this time splintering the leg of Big John’s favorite chair. “Don’t you dare touch that thing again!” Daisy shrieked, when Emma bent to retrieve it. Emma left the pistol lying on the rug and straightened up again, one hand pressed to her mouth in shock. The two women stood in their places for a long time, afraid to move. Emma, for her part, was busy imagining all the dreadful things that could have happened. She was amazed to see Steven stumble into the room, fully dressed except for his boots, drenched in sweat from the effort of making his way down the stairs in a hurry. The expression in his eyes was wild and alert, almost predatory. “What the hell’s going on in here?” he rasped. Emma pointed to the pistol as though it were a snake coiled to strike. “It went off—twice.” Steven was supporting himself by grasping the edge of Chloe’s desk. “Pick it up very carefully and hand it to me,” he said. Emma bit her lower lip, remembering what had happened when she’d handled the gun before. “You can do it,” Steven urged. “Just make sure you don’t touch the hammer or the trigger.” Emma crouched and picked it up cautiously. The barrel was hot against her palm. “Here,” Steven said, holding out his hand. Emma surrendered the gun, and leaning back against the desk, Steven spun the chamber expertly, dropping the four remaining bullets into his palm. He gave a ragged sigh, then just stood there, cradling the pistol in his hands like a kitten or a puppy. “I was going to bring it to you,” Emma confessed in a small voice. “She was hopin’ you’d blow your brains out with it,” Daisy muttered, before she turned and went back to the kitchen. Steven

Larry Wells, at Brigham Young University, hit upon the idea of delivering the birds by air. In what has to be one of the most spectacularly woozy malfunctions ever to happen in the skies above the American Southwest, he found to his horror that when you toss Rhode Island Reds out of a small plane, well, let’s just say the windblast hammers them in the most awful way, leaving lifeless chicken bodies scattered about the sagebrush.

What did the captain want with you?' Ed asked. Fred said nothing as he sat down. His face wearing a puzzled expression as he pushed a cigarette between his lips and lit a match. 'Well, what's the matter with you man?' Jones asked. 'Nothing,' Fred replied, staring at the cigarette burning between his fingers. 'What are they charging you with?' Williams asked. 'Nothing,' Fred said again, his voice monotone. 'What is up with you then?' 'The captain has made me a corporal,' Fred said. 'You,' Williams shouted, stepping several paces back as if struck by a heavy hammer. 'I'm in charge of the Lewis gun section, when they arrive that is,' Fred said, his words drawn out with disbelief. 'There must be some bloody mistake,' Williams said, staring at Fred with a look of horror in his eyes.

Kerpeikkari, whose skin was now gray-translucent pastiche of Gigerian horror, snapped his needled jaws at the two terrified pilgrims, biting the arm off of one and the head off the other.

THE BEAST WALKS AMONG US. Over and over he hammers at the point, vaguely aware that his voice has grown roughly strong, that his words have attained an almost poetic rhythm.

He took this door differently, turning the knob slowly, easing the door open, standing off to the side. The smell intensified, but even worse than that, he heard a soft, unpleasant noise, something he couldn’t identify but he instantly hated. He didn’t want to hear it, wanted to run away from it. It was a kind of card-shuffling sound, real low, lots of little sounds joined together, one after the other, but it wasn’t hard-edged like with cards. It was wetter, softer around the edges, and constant. Jordan peeked inside, his heart hammering worse than it had even when he was on the firing step, waiting for the word, for the whistles, to go over and up into the shrieking, machine-gun-drumming terror of an assault… There was a body on the narrow bed. A woman. Probably. She had been wearing a nightdress, which had been white, and was now uniformly a faded pink, and shredded into fragments. Things moved on the body. Insects, Jordan thought. Or worms. Or something…his eyes and brain couldn’t process what he was seeing. Lots of tiny things roiling across what was now just a lump of meat, the skin long since gone, half the flesh, too, and even the bones diminished, foreshortened… Eaten. Jordan choked back the bile in his throat as he worked out what he was seeing.

Matt- ‘If you run from me, I will get you; but you know that I love you! Do not stray away because if you do, I will nail every one of your toes and wrists to this tree right here, and you can hang from it, in the air, and you can think about what you did wrong- my baby.’ He said- (In a spineless, bone-chilling, creeper voice!) Matt- ‘Truly, I will do it, and you will be awake to see it all, as well as feel it go through one by one, and swing by hammering swing. You see all of these corroded nine-inch nails there for you- my baby!’ He said- (I did not think his voice could get any creepier, however, it did! As he was showing me the hammer and nails. He was utterly insane and mad.)

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!

Despite all the solo vocals, each using the others as a back-up group, the White Album still sounds haunted by memories of friendship—that “dreamlike state” they could still zoom into hearing each other sing. They translated Rishikesh into their own style of English pagan pastoral—so many talking animals, so many changes in the weather. One of my favorite British songwriters, Luke Haines from the Auteurs and Black Box Recorder, once told me in an interview that his band was making “our Wicker Man album.” He was miffed I had no idea what he meant. “You can’t understand British bands without seeing The Wicker Man. Every British band makes its Wicker Man album.” So I rented the classic 1973 Hammer horror film, and had creepy dreams about rabbits for months, but he’s right, and the White Album is the Beatles’ Wicker Man album five years before The Wicker Man, a rustic retreat where nature seems dark and depraved in a primal English sing-cuckoo way. They also spruced up their acoustic guitar chops in India, learning folkie fingerpicking techniques from fellow pilgrim Donovan, giving the songs some kind of ancient mystic chill.

He told me—it was like a dream.” The story unspools in chunks and gasps, wet noises caked with pain. “He told me, he— this was supposed to be beautiful. Like being reborn. Like giving birth. Like creating life. But this is—” “Wrong.” I finish. “It hurts.

Harry moved in front of the tank and looked intently at the snake. He wouldn't have been surprised if it had died of boredom itself- no company except stupid people drumming their fingers on the glass trying to disturb it all day long. It was worse than having a cupboard as a bedroom, where the only visitor was Aunt Petunia hammering on the door to wake you up; at least he got to visit the rest of the house. The snake suddenly opened its beady eyes. Slowly, very slowly, it raised its head until its eyes were on a level with Harry's. It winked. Harry stared. Then he looked quickly around to see if anyone was watching. They weren't. He looked back at the snake and winked, too. The snake jerked its head toward Uncle Vernon and Dudley, then raised its eyes to the ceiling. It gave Harry a look that said quite plainly: "I get that all the time." "I know," Harry murmured through the glass, though he wasn't sure the snake could hear him. "It must be really annoying." The snake nodded vigorously. "Where do you come from, anyway?" Harry asked. The snake jabbed its tail at the sign again and Harry read on: This specimen was bred in the zoo. "Oh, I see- so you've never been to Brazil?" As the snake shook its head, a deafening shout behind Harry made both of them jump. "DUDLEY! MR. DURSLEY! COME AND LOOK AT THIS SNAKE! YOU WON'T BELIEVE WHAT IT'S DOING!" Dudley came waddling toward them as fast as he could. "Out of the way, you," he said, punching Harry in the ribs. Caught by surprise, Harry fell hard on the concrete floor. What came next happened so fast no one saw how it happened- one second, Piers and Dudley were leaning right up close to the glass, the next, they had leapt back with howls of horror. Harry had sat up and gasped; the glass front of the boa constrictor's tank had vanished. The great snake was uncoiling itself rapidly, slithering out onto the floor. People throughout the reptile house screamed and started running for the exits. As the snake slid swiftly past him, Harry could have sworn a low, hissing voice said, "Brazil, here I come... Thanksss, amigo.

For a moment everything was clear, and when that happens you see that the world is barely there at all. Don’t we all secretly know this? It’s a perfectly balanced mechanism of shouts and echoes pretending to be wheels and cogs, a dreamclock chiming beneath a mystery-glass we call life. Behind it? Below it and around it? Chaos, storms. Men with hammers, men with knives, men with guns. Women who twist what they cannot dominate and belittle what they cannot understand. A universe of horror and loss surrounding a single lighted stage where mortals dance in defiance of the dark.