Horror Quotes

To douchebags!" he said, gesturing to Brad. "And to girls that break your heart," he bowed his head to me. His eyes lost focus. "And to the absolute fucking horror of losing your best friend because you were stupid enough to fall in love with her.

You gain strength, courage and confidence by every experience in which you really stop to look fear in the face. You are able to say to yourself, 'I have lived through this horror. I can take the next thing that comes along.' You must do the thing you think you cannot do.

Boring damned people. All over the earth. Propagating more boring damned people. What a horror show. The earth swarmed with them.

Words have no power to impress the mind without the exquisite horror of their reality.

Are you implying that shreds of my reputation remain intact?" Will demanded with mock horror. "Clearly I have been doing something wrong. Or not something wrong, as the case may be." He banged on the side of the carriage. "Thomas! We must away at once to the nearest brothel. I seek scandal and low companionship.

Behold!" Percy shouted. "The god's chosen beverage. Tremble before the horror of Diet Coke!

Believe nothing you hear, and only one half that you see.

From even the greatest of horrors irony is seldom absent.

We make up horrors to help us cope with the real ones.

Alone. Yes, that's the key word, the most awful word in the English tongue. Murder doesn't hold a candle to it and hell is only a poor synonym.

You don't write about the horrors of war. No. You write about a kid's burnt socks lying in the road.

The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown

Read. Read. Read. Just don't read one type of book. Read different books by various authors so that you develop different style.

The man in black fled across the desert, and the gunslinger followed.

Introverts, in contrast, may have strong social skills and enjoy parties and business meetings, but after a while wish they were home in their pajamas. They prefer to devote their social energies to close friends, colleagues, and family. They listen more than they talk, think before they speak, and often feel as if they express themselves better in writing than in conversation. They tend to dislike conflict. Many have a horror of small talk, but enjoy deep discussions.

Compassion hurts. When you feel connected to everything, you also feel responsible for everything. And you cannot turn away. Your destiny is bound with the destinies of others. You must either learn to carry the Universe or be crushed by it. You must grow strong enough to love the world, yet empty enough to sit down at the same table with its worst horrors.

There is something at work in my soul, which I do not understand.

I hope something happens. I'm restless as the devil and have a horror of getting fat or falling in love and growing domestic.

Because the world is so full of death and horror, I try again and again to console my heart and pick the flowers that grow in the midst of hell.

I have seen the dark universe yawning Where the black planets roll without aim, Where they roll in their horror unheeded, Without knowledge, or lustre, or name.

You don't believe me?" Jace asked. "Fine. Go ahead. Kiss me right now." Alec stared at him in horror. "Exactly. Despite my staggering good lucks, you actually don't like me that way.

Whatever in creation exists without my knowledge exists without my consent.

Out of the night that covers me, Black as the Pit from pole to pole, I thank whatever gods may be For my unconquerable soul. In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeonings of chance My head is bloody, but unbowed. Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds, and shall find, me unafraid. It matters not how strait the gate, How charged with punishments the scroll, I am the master of my fate: I am the captain of my soul.

[Horror fiction] shows us that the control we believe we have is purely illusory, and that every moment we teeter on chaos and oblivion.

It's your gift, to see the beauty and the horror in ordinary things. It doesn't make you crazy, just different.

The 3 types of terror: The Gross-out: the sight of a severed head tumbling down a flight of stairs, it's when the lights go out and something green and slimy splatters against your arm. The Horror: the unnatural, spiders the size of bears, the dead waking up and walking around, it's when the lights go out and something with claws grabs you by the arm. And the last and worse one: Terror, when you come home and notice everything you own had been taken away and replaced by an exact substitute. It's when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there's nothing there...

   In 1658, Francis Andrew Ransome stole the Alchemy Scroll from St. Julian’s college, my present employer. Ransome was a member of a transatlantic group called The Invisible College. They were alchemists, meaning they worked with matter and spirit together.

You know how sometimes you tell yourself that you have a choice, but really you don't have a choice? Just because there are alternatives doesn't mean they apply to you.

Everybody is a book of blood; wherever we're opened, we're red.

I guessed his name was Face of Horror. I wondered how long it had taken his mom to think of that. Bob? No. Sam? No. How about Face of Horror?

Some things are too terrible to grasp at once. Other things - naked, sputtering, indelible in their horror - are too terrible to really grasp ever at all. It is only later, in solitude, in memory that the realization dawns: when the ashes are cold; when the mourners have departed; when one looks around and finds oneself - quite to one's surprise - in an entirely different world.

And the most terrifying question of all may be just how much horror the human mind can stand and still maintain a wakeful, staring, unrelenting sanity.

To have endured horrors, to have seen the worst of humanity and have your life made unrecognizable by it, to come out of all that honorable and brave— that was magical.

We'd stared into the face of Death, and Death blinked first. You'd think that would make us feel brave and invincible. It didn't.

Because horror on Earth is real and it is every day. It is like a flower or like the sun; it cannot be contained.

Even if she be not harmed, her heart may fail her in so much and so many horrors; and hereafter she may suffer--both in waking, from her nerves, and in sleep, from her dreams.

Give me just enough information so that I can lie convincingly.

Each time I told my story, I lost a bit, the smallest drop of pain. It was that day that I knew I wanted to tell the story of my family. Because horror on Earth is real and it is every day. It is like a flower or like the sun; it cannot be contained.

The Devil pulls the strings which make us dance; We find delight in the most loathsome things; Some furtherance of Hell each new day brings, And yet we feel no horror in that rank advance.

Charlotte, darling," Henry said to his wife, who was staring at him in gape-mouthed horror. Jessamine, beside her, was wide eyed. "Sorry I'm late. You know, I think I might nearly have the Sensor working-" Will interrupted. "Henry," he said, "You're on fire. You do know that don't you?

I know always that I am an outsider; a stranger in this century and among those who are still men.

These days, loneliness is the new cancer—a shameful, embarrassing thing, brought upon yourself in some obscure way. A fearful, incurable thing, so horrifying that you dare not mention it; other people don’t want to hear the word spoken aloud for fear that they might too be afflicted, or that it might tempt fate into visiting a similar horror upon them.

To learn what we fear is to learn who we are. Horror defies our boundaries and illuminates our souls.

Somewhere along the way we all go a bit mad. So burn, let go and dive into the horror, because maybe it’s the chaos which helps us find where we belong.

The horror! The horror!

This horror will grow mild, this darkness light.

Eddie discovered one of his childhood's great truths. Grownups are the real monsters, he thought.

Oh, the terrible struggle that I have had against sleep so often of late; the pain of the sleeplessness, or the pain of the fear of sleep, and with such unknown horror as it has for me! How blessed are some people, whose lives have no fears, no dreads; to whom sleep is a blessing that comes nightly, and brings nothing but sweet dreams.

Quiet people have the loudest minds.

There are no ordinary people. You have never talked to a mere mortal. Nations, cultures, arts, civilizations - these are mortal, and their life is to ours as the life of a gnat. But it is immortals whom we joke with, work with, marry, snub and exploit - immortal horrors or everlasting splendors. This does not mean that we are to be perpetually solemn. We must play. But our merriment must be of that kind (and it is, in fact, the merriest kind) which exists between people who have, from the outset, taken each other seriously - no flippancy, no superiority, no presumption.

Wendy? Darling? Light, of my life. I'm not gonna hurt ya. I'm just going to bash your brains in.

Roads Go Ever On Roads go ever ever on, Over rock and under tree, By caves where never sun has shone, By streams that never find the sea; Over snow by winter sown, And through the merry flowers of June, Over grass and over stone, And under mountains in the moon. Roads go ever ever on, Under cloud and under star. Yet feet that wandering have gone Turn at last to home afar. Eyes that fire and sword have seen, And horror in the halls of stone Look at last on meadows green, And trees and hills they long have known. The Road goes ever on and on Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with eager feet, Until it joins some larger way, Where many paths and errands meet. The Road goes ever on and on Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with weary feet, Until it joins some larger way, Where many paths and errands meet. And whither then? I cannot say. The Road goes ever on and on Out from the door where it began. Now far ahead the Road has gone. Let others follow, if they can! Let them a journey new begin. But I at last with weary feet Will turn towards the lighted inn, My evening-rest and sleep to meet.

Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn. In his house at R'lyeh dead Cthulhu waits dreaming.

Now we're in that sweet period where everyone agrees that our recent horrors should never be repeated. But collective thinking is usually short-lived. We're fickle, stupid beings with poor memories and a great gift for self-destruction.

Penises! Sweet Jesus. Penises everywhere. Horror slams into me as I register what I'm seeing. Oh God. I've stumbled onto a penis convention. Big penises and small penises and fat penises and penis-shaped penises. It doesn't matter which direction I move my head because everywhere I look I see penises.

I do not love men: I love what devours them.

Wow. The guy can make me feel stupid even when he's telling me I don't have to let him make me feel stupid.

No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

But to die as lovers may - to die together, so that they may live together.

They know that tragedy is not glamorous. They know it doesn't play out in life as it does on a stage or between the pages of a book. It is neither a punishment meted out nor a lesson conferred. Its horrors are not attributable to one single person. Tragedy is ugly and tangled, stupid and confusing.

Though I walk through the valley of death I will fear no evil, for I am the evilest motherfucker in the valley

In that case" Tessa said, feeling hot blood rise to her face,"I think I would prefer it if you called me by my Christian name, as you do with Miss Lovelace. Will look at her, slow and hard, then smiled. His blue eyes lit when he smiled. "Then you must do the same for me," he said. "Tessa." She had never thought about her name much before, but when he said it, it was as if she were hearing if for the first time-the hard T, the caress of the double S, the way it seemed to end on a breath. Her own breath was very short when he said, softly, "Will." "Yes?" Amusement glittered his eyes. With a sort of horror Tessa realized that she had simply said his name for the sake of saying it; she hadn't actually had a question.

I’ll tell you now. That silence almost beat me. It’s the silence that scares me. It’s the blank page on which I can write my own fears. The spirits of the dead have nothing on it. The dead one tried to show me hell, but it was a pale imitation of the horror I can paint on the darkness in a quiet moment.

And do I look like the kind of man that can be intimidated?" barked Uncle Vernon. "Well..." said Moody, pushing back his bowler hat to reveal his sinisterly revolving eye. Uncle Vernon lept backward in horror and collided painfully with a luggage trolley. "Yes, I'd have to say you do, Dursley.

But his soul was mad. Being alone in the wilderness, it had looked within itself and, by heavens I tell you, it had gone mad.

Blood is really warm, it's like drinking hot chocolate but with more screaming.

Perhaps in the back of our minds we already understand, without all the science I've discussed, that something terribly wrong is happening. Our sustenance now comes from misery. We know that if someone offers to show us a film on how our meat is produced, it will be a horror film. We perhaps know more than we care to admit, keeping it down in the dark places of our memory-- disavowed. When we eat factory-farmed meat we live, literally, on tortured flesh. Increasingly, that tortured flesh is becoming our own.

The curse is broken. The king is returned." He's every bit as terrifying as any serpent. I don't care. I run into his arms. Cardan's fingers dig into my back. He's trembling, and whether it is from ebbing magic or horror, I am not sure. But he holds me as though I am the only solid thing in the world.

The first man who, having enclosed a piece of ground, bethought himself of saying This is mine, and found people simple enough to believe him, was the real founder of civil society. From how many crimes, wars and murders, from how many horrors and misfortunes might not any one have saved mankind, by pulling up the stakes, or filling up the ditch, and crying to his fellows, "Beware of listening to this impostor; you are undone if you once forget that the fruits of the earth belong to us all, and the earth itself to nobody.

Despite my ghoulish reputation, I really have the heart of a small boy. I keep it in a jar on my desk.

I think perhaps all of us go a little crazy at times.

If you can approach the world's complexities, both its glories and its horrors, with an attitude of humble curiosity, acknowledging that however deeply you have seen, you have only scratched the surface, you will find worlds within worlds, beauties you could not heretofore imagine, and your own mundane preoccupations will shrink to proper size, not all that important in the greater scheme of things.

That was horrible. Horrible. That poor little guy." Pex was unrepentant. "Yeah, well, he asked for it. Calling us ... all those things." But---buried alive! That's like in that horror movie. Y'know -- the one with all the horror." I think I saw that one. With all the words going up on the screen at the end?" Yeah, that was it. Tell you the truth, those words kinda ruined it for me.

I am like a small creature swallowed whole by a monster, she thought, and the monster feels my tiny little movements inside.

Most of the laugh tracks on television were recorded in the early 1950’s. These days, most of the people you hear laughing are dead.

You are so... 11:59

The first time it was reported that our friends were being butchered there was a cry of horror. Then a hundred were butchered. But when a thousand were butchered and there was no end to the butchery, a blanket of silence spread. When evil-doing comes like falling rain, nobody calls out "stop!" When crimes begin to pile up they become invisible. When sufferings become unendurable the cries are no longer heard. The cries, too, fall like rain in summer.

The villains were always ugly in books and movies. Necessarily so, it seemed. Because if they were attractive—if their looks matched their charm and their cunning—they wouldn't only be dangerous. They would be irresistible.

It is a serious thing to live in a society of possible gods and goddesses, to remember that the dullest most uninteresting person you can talk to may one day be a creature which,if you saw it now, you would be strongly tempted to worship, or else a horror and a corruption such as you now meet, if at all, only in a nightmare. All day long we are, in some degree helping each other to one or the other of these destinations. It is in the light of these overwhelming possibilities, it is with the awe and the circumspection proper to them, that we should conduct all of our dealings with one another, all friendships, all loves, all play, all politics. There are no ordinary people. You have never talked to a mere mortal. Nations, cultures, arts, civilizations - these are mortal, and their life is to ours as the life of a gnat. But it is immortals whom we joke with, work with, marry, snub, and exploit - immortal horrors or everlasting splendors.

She understood now why her friend Elizabeth, with her near-genius, analytical mind gave wide berth to murder mysteries, psychological thrillers, and horror stories, and read only romance novels. Because, by God, when a woman picked up one of those steamy books, she had a firm guarantee that there would be a Happily-Ever-After. That though the world outside those covers could bring such sorrow and disappointment and loneliness, between those covers, the world was a splendid place to be.

Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began. Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!

Lucien had been prepared to take me against my will. Fae males were territorial, dominant, arrogant—but the ones in the Spring Court … something had festered in their training. Because I knew—deep in my bones—that Cassian might push and test my limits, but the moment I said no, he’d back off. And I knew that if … that if I had been wasting away and Rhys had done nothing to stop it, Cassian or Azriel would have pulled me out. They would have taken me somewhere—wherever I needed to be—and dealt with Rhys later. But Rhys … Rhys would never have not seen what was happening to me; would never have been so misguided and arrogant and self-absorbed. He’d known what Ianthe was from the moment he met her. And he’d understood what it was like to be a prisoner, and helpless, and to struggle—every day—with the horrors of both.

Yes,” I whisper. The red blinking light on one of the cameras catches my eye. I know I’m being recorded. “Yes,” I say more forcefully. Everyone is drawing away from me—Gale, Cressida, the insects—giving me the stage. But I stay focused on the red light. “I want to tell the rebels that I am alive. That I’m right here in District Eight, where the Capitol has just bombed a hospital full of unarmed men, women, and children. There will be no survivors.” The shock I’ve been feeling begins to give way to fury. “I want to tell people that if you think for one second the Capitol will treat us fairly if there’s a cease-fire, you’re deluding yourself. Because you know who they are and what they do.” My hands go out automatically, as if to indicate the whole horror around me. “This is what they do! And we must fight back!” I’m moving in toward the camera now, carried forward by my rage. “President Snow says he’s sending us a message? Well, I have one for him. You can torture us and bomb us and burn our districts to the ground, but do you see that?” One of the cameras follows as I point to the planes burning on the roof of the warehouse across from us. The Capitol seal on a wing glows clearly through the flames. “Fire is catching!” I am shouting now, determined that he will not miss a word. “And if we burn, you burn with us!

Because the terrible thing about becoming an adult is being forced to realize that absolutely nobody cares about us, we have to deal with everything ourselves now, find out how the whole world works. Work and pay bills, use dental floss and get to meetings on time, stand in line and fill out forms, come to grips with cables and put furniture together, change tires on the car and charge the phone and switch the coffee machine off and not forget to sign the kids up for swimming lessons. We open our eyes in the morning and life is just waiting to tip a fresh avalanche of "Don't Forget!"s and "Remember!"s over us. We don't have time to think or breathe, we just wake up and start digging through the heap, because there will be another one dumped on us tomorrow. We look around occasionally, at our place of work or at parents' meetings or out in the street, and realize with horror that everyone else seems to know exactly what they're doing. We're the only ones who have to pretend. Everyone else can afford stuff and has a handle on other stuff and enough energy to deal with even more stuff. And everyone else's children can swim.

The great source of both the misery and disorders of human life, seems to arise from over-rating the difference between one permanent situation and another. Avarice over-rates the difference between poverty and riches: ambition, that between a private and a public station: vain-glory, that between obscurity and extensive reputation. The person under the influence of any of those extravagant passions, is not only miserable in his actual situation, but is often disposed to disturb the peace of society, in order to arrive at that which he so foolishly admires. The slightest observation, however, might satisfy him, that, in all the ordinary situations of human life, a well-disposed mind may be equally calm, equally cheerful, and equally contented. Some of those situations may, no doubt, deserve to be preferred to others: but none of them can deserve to be pursued with that passionate ardour which drives us to violate the rules either of prudence or of justice; or to corrupt the future tranquillity of our minds, either by shame from the remembrance of our own folly, or by remorse from the horror of our own injustice.

Dr. Watson's summary list of Sherlock Holmes's strengths and weaknesses: "1. Knowledge of Literature: Nil. 2. Knowledge of Philosophy: Nil. 3. Knowledge of Astronomy: Nil. 4. Knowledge of Politics: Feeble. 5. Knowledge of Botany: Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. 6. Knowledge of Geology: Practical but limited. Tells at a glance different soils from each other. After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. 7. Knowledge of Chemistry: Profound. 8. Knowledge of Anatomy: Accurate but unsystematic. 9. Knowledge of Sensational Literature: Immense. He appears to know every detail of every horror perpetrated in the century. 10. Plays the violin well. 11. Is an expert singlestick player, boxer, and swordsman. 12. Has a good practical knowledge of British law.

The guys were totally skuzzy, grinning horribly, showing holes where teeth should be. “Boys, God doesn’t like you,” Fang intoned behind them. Whaaat? I thought, dumbfounded. “Wha!” they said, whirling. At that moment, Fang snapped out his huge wings and shone the penlight under his chin so it raked his cheekbones and eyes. My mouth dropped open. He looked like the angel of death. His dark wings filled the hallway almost to the ceiling, and he moved them up and down. “God doesn’t like bad people,” he said, using a really weird, deep voice. “What the heck?” one of the squatters murmured shallowly, his mouth slack, his eyes bugging out of his head. I whipped my own wings open. Fun, anyway. “This was a test,” I said, using my best spooky voice. “And guess what? You both failed.” The bums stopped dead, looks of horror and amazement on their faces. Then Fang growled, “Rowr!” He stepped forward, sweeping his wings up and down: the avenging demon. I almost cracked up. “Rowr!” I said myself, shaking my wings out. “Ahhhhh!” the guys yelled, backpedaling fast. Unfortunately, they were standing at the top of the staircase. They fell awkwardly, trying to grab each other, and rolled down two flights like lumpy bags of potatoes, shrieking the whole way. Fang and I slapped each other a quick high five—and we were out of there, jack.

I close my eyes and I let my body shut itself down and I let my mind wander. It wanders to a familiar place. A place I don’t talk about or acknowledge exists. A place where there is only me. A place that I hate. I am alone. Alone here and alone in the world. Alone in my heart and alone in my mind. Alone everywhere, all the time, for as long as I can remember. Alone with my Family, alone with my friends, alone in a Room full of People. Alone when I wake, alone through each awful day, alone when I finally meet the blackness. I am alone in my horror. Alone in my horror. I don’t want to be alone. I have never wanted to be alone. I fucking hate it. I hate that I have no one to talk to, I hate that I have no one to call, I hate that I have no one to hold my hand, hug me, tell me everything is going to be all right. I hate that I have no one to share my hopes and dreams with, I hate that I no longer have any hopes or dreams, I hate that I have no one to tell me to hold on, that I can find them again. I hate that when I scream, and I scream bloody murder, that I am screaming into emptiness. I hate that there is no one to hear my scream and that there is no one to help me learn how to stop screaming. . . More than anything, all I have ever wanted is to be close to someone. More than anything, all I have ever wanted is to feel as if I wasn’t alone.

Don’t fall in love with a woman who reads, a woman who feels too much, a woman who writes... Don’t fall in love with an educated, magical, delusional, crazy woman. Don’t fall in love with a woman who thinks, who knows what she knows and also knows how to fly; a woman sure of herself. Don’t fall in love with a woman who laughs or cries making love, knows how to turn her spirit into flesh; let alone one that loves poetry (these are the most dangerous), or spends half an hour contemplating a painting and isn't able to live without music. Don’t fall in love with a woman who is interested in politics and is rebellious and feel a huge horror from injustice. One who does not like to watch television at all. Or a woman who is beautiful no matter the features of her face or her body. Don’t fall in love with a woman who is intense, entertaining, lucid and irreverent. Don’t wish to fall in love with a woman like that. Because when you fall in love with a woman like that, whether she stays with you or not, whether she loves you or not, from a woman like that, you never come back.

Do you know I've been sitting here thinking to myself: that if I didn't believe in life, if I lost faith in the woman I love, lost faith in the order of things, were convinced in fact that everything is a disorderly, damnable, and perhaps devil-ridden chaos, if I were struck by every horror of man's disillusionment -- still I should want to live. Having once tasted of the cup, I would not turn away from it till I had drained it! At thirty though, I shall be sure to leave the cup even if I've not emptied it, and turn away -- where I don't know. But till I am thirty I know that my youth will triumph over everything -- every disillusionment, every disgust with life. I've asked myself many times whether there is in the world any despair that could overcome this frantic thirst for life. And I've come to the conclusion that there isn't, that is until I am thirty.

This is the great lesson the depressive learns: Nothing in the world is inherently compelling. Whatever may be really “out there” cannot project itself as an affective experience. It is all a vacuous affair with only a chemical prestige. Nothing is either good or bad, desirable or undesirable, or anything else except that it is made so by laboratories inside us producing the emotions on which we live. And to live on our emotions is to live arbitrarily, inaccurately—imparting meaning to what has none of its own. Yet what other way is there to live? Without the ever-clanking machinery of emotion, everything would come to a standstill. There would be nothing to do, nowhere to go, nothing to be, and no one to know. The alternatives are clear: to live falsely as pawns of affect, or to live factually as depressives, or as individuals who know what is known to the depressive. How advantageous that we are not coerced into choosing one or the other, neither choice being excellent. One look at human existence is proof enough that our species will not be released from the stranglehold of emotionalism that anchors it to hallucinations. That may be no way to live, but to opt for depression would be to opt out of existence as we consciously know it.

In the 1950s kids lost their innocence. They were liberated from their parents by well-paying jobs, cars, and lyrics in music that gave rise to a new term ---the generation gap. In the 1960s, kids lost their authority. It was a decade of protest---church, state, and parents were all called into question and found wanting. Their authority was rejected, yet nothing ever replaced it. In the 1970s, kids lost their love. It was the decade of me-ism dominated by hyphenated words beginning with self. Self-image, Self-esteem, Self-assertion....It made for a lonely world. Kids learned everything there was to know about sex and forgot everything there was to know about love, and no one had the nerve to tell them there was a difference. In the 1980s, kids lost their hope. Stripped of innocence, authority and love and plagued by the horror of a nuclear nightmare, large and growing numbers of this generation stopped believing in the future. In the 1990s kids lost their power to reason. Less and less were they taught the very basics of language, truth, and logic and they grew up with the irrationality of a postmodern world. In the new millennium, kids woke up and found out that somewhere in the midst of all this change, they had lost their imagination. Violence and perversion entertained them till none could talk of killing innocents since none was innocent anymore.

Some catastrophic moments invite clarity, explode in split moments: You smash your hand through a windowpane and then there is blood and shattered glass stained with red all over the place; you fall out a window and break some bones and scrape some skin. Stitches and casts and bandages and antiseptic solve and salve the wounds. But depression is not a sudden disaster. It is more like a cancer: At first its tumorous mass is not even noticeable to the careful eye, and then one day -- wham! -- there is a huge, deadly seven-pound lump lodged in your brain or your stomach or your shoulder blade, and this thing that your own body has produced is actually trying to kill you. Depression is a lot like that: Slowly, over the years, the data will accumulate in your heart and mind, a computer program for total negativity will build into your system, making life feel more and more unbearable. But you won't even notice it coming on, thinking that it is somehow normal, something about getting older, about turning eight or turning twelve or turning fifteen, and then one day you realize that your entire life is just awful, not worth living, a horror and a black blot on the white terrain of human existence. One morning you wake up afraid you are going to live. In my case, I was not frightened in the least bit at the thought that I might live because I was certain, quite certain, that I was already dead. The actual dying part, the withering away of my physical body, was a mere formality. My spirit, my emotional being, whatever you want to call all that inner turmoil that has nothing to do with physical existence, were long gone, dead and gone, and only a mass of the most fucking god-awful excruciating pain like a pair of boiling hot tongs clamped tight around my spine and pressing on all my nerves was left in its wake. That's the thing I want to make clear about depression: It's got nothing at all to do with life. In the course of life, there is sadness and pain and sorrow, all of which, in their right time and season, are normal -- unpleasant, but normal. Depression is an altogether different zone because it involves a complete absence: absence of affect, absence of feeling, absence of response, absence of interest. The pain you feel in the course of a major clinical depression is an attempt on nature's part (nature, after all, abhors a vacuum) to fill up the empty space. But for all intents and purposes, the deeply depressed are just the walking, waking dead. And the scariest part is that if you ask anyone in the throes of depression how he got there, to pin down the turning point, he'll never know. There is a classic moment in The Sun Also Rises when someone asks Mike Campbell how he went bankrupt, and all he can say in response is, 'Gradually and then suddenly.' When someone asks how I love my mind, that is all I can say too

Look. I don’t want to push you into anything, but do you maybe want to —” “Call Magnus? Look, that’s a dead end, I know you’re trying to be helpful, but —” “—kiss me?” Jace finished. Alec looked as if he were about to fall off his chair. “WHAT? What? What?” “Once what would do.” Jace did his best to look as if this were the sort of suggestion one made all the time. “I think it might help.” Alec looked at him with something like horror. “You don’t mean that.” “Why wouldn’t I mean it?” “Because you’re the straightest person I know. Possibly the straightest person in the universe.” “Exactly,” Jace said, and leaned forward, and kissed Alec on the mouth. The kiss lasted approximately four seconds before Alec pulled forcefully away, throwing his hands up as if to ward Jace off from coming at him again. He looked as if he were about to throw up. “By the Angel,” he said. “Don’t ever do that again.” “Oh yeah?” Jace grinned, and almost meant it. “That bad?” “Like kissing my brother,” said Alec, with a look of horror in his eyes. “I thought you might feel that way.” Jace crossed his arms over his chest. “Also, I’m hoping we can just gloss over all the irony in what you just said.” “We can gloss over whatever you want to,” Alec said fervently. “Just don’t kiss me again.

Clarissa had a theory in those days - they had heaps of theories, always theories, as young people have. It was to explain the feeling they had of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people. But she said, sitting on the bus going up Shaftesbury Avenue, she felt herself everywhere; not 'here, here, here'; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or any one, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoke to, some women in the street, some man behind a counter - even trees, or barns. It ended in a transcendental theory which, with her horror of death, allowed her to believe, or say that she believed (for all her scepticism), that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places, after death. Perhaps - perhaps.

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

She was knitting a sweater and enjoying the calm atmosphere of her living room when her chubby, beer-drinking, sports-watching husband woke from a nap on the couch screaming, “Touchdown!” At the moment her serenity had been broken, she unconsciously reacted by swinging around and plunging a knitting needle into her husband’s throat. While blood squirted from his throat and his shocked face produced gurgling sounds, she lifted from her chair and drove the other knitting needle into his beer-ballooned stomach over and over again. Blood and beer gushed out of his belly like a punctured fish tank. As her husband gurgled and deflated, she stared down at him with a beaming smile. She had found her new hobby—annihilating assholes. She had cut up her husband into nice little pieces and used him as fertilizer for her backyard garden. Never again did her cozy house get raped by blaring sounds of sports emanating from a television set. The TV went into the garbage and the living room was converted into a tea room.

A number of years ago, when I was a freshly-appointed instructor, I met, for the first time, a certain eminent historian of science. At the time I could only regard him with tolerant condescension. I was sorry of the man who, it seemed to me, was forced to hover about the edges of science. He was compelled to shiver endlessly in the outskirts, getting only feeble warmth from the distant sun of science- in-progress; while I, just beginning my research, was bathed in the heady liquid heat up at the very center of the glow. In a lifetime of being wrong at many a point, I was never more wrong. It was I, not he, who was wandering in the periphery. It was he, not I, who lived in the blaze. I had fallen victim to the fallacy of the 'growing edge;' the belief that only the very frontier of scientific advance counted; that everything that had been left behind by that advance was faded and dead. But is that true? Because a tree in spring buds and comes greenly into leaf, are those leaves therefore the tree? If the newborn twigs and their leaves were all that existed, they would form a vague halo of green suspended in mid-air, but surely that is not the tree. The leaves, by themselves, are no more than trivial fluttering decoration. It is the trunk and limbs that give the tree its grandeur and the leaves themselves their meaning. There is not a discovery in science, however revolutionary, however sparkling with insight, that does not arise out of what went before. 'If I have seen further than other men,' said Isaac Newton, 'it is because I have stood on the shoulders of giants.

I think that God that we have created and allowed to shape our culture through, essentially Christian theology is a pretty villainous creature. I think that one of the things that male patriarchal figure has done is, allowed under it's, his church, his wing, all kinds of corruptions and villainies to grow and fester. In the name of that God terrible wars have been waged, in the name of that God terrible sexism has been allowed to spread. There are children being born all across this world that don't have enough food to eat because that God, at least his church, tells the mothers and fathers that they must procreate at all costs, and to prevent procreation with a condom is in contravention with his laws. Now, I don't believe that God exists. I think that God is creation of men, by men, and for men. What has happened over the many centuries now, the better part of two thousand in fact, is that that God has been slowly and steadily accruing power. His church has been accruing power, and the men who run that church, and they are all men, are not about to give it up. If they give it up, they give up luxury, they give up comfort.

Once upon a time, there was a king who ruled a great and glorious nation. Favourite amongst his subjects was the court painter of whom he was very proud. Everybody agreed this wizzened old man pianted the greatest pictures in the whole kingdom and the king would spend hours each day gazing at them in wonder. However, one day a dirty and dishevelled stranger presented himself at the court claiming that in fact he was the greatest painter in the land. The indignant king decreed a competition would be held between the two artists, confident it would teach the vagabond an embarrassing lesson. Within a month they were both to produce a masterpiece that would out do the other. After thirty days of working feverishly day and night, both artists were ready. They placed their paintings, each hidden by a cloth, on easels in the great hall of the castle. As a large crowd gathered, the king ordered the cloth be pulled first from the court artist’s easel. Everyone gasped as before them was revealed a wonderful oil painting of a table set with a feast. At its centre was an ornate bowl full of exotic fruits glistening moistly in the dawn light. As the crowd gazed admiringly, a sparrow perched high up on the rafters of the hall swooped down and hungrily tried to snatch one of the grapes from the painted bowl only to hit the canvas and fall down dead with shock at the feet of the king. ’Aha!’ exclaimed the king. ’My artist has produced a painting so wonderful it has fooled nature herself, surely you must agree that he is the greatest painter who ever lived!’ But the vagabond said nothing and stared solemnly at his feet. ’Now, pull the blanket from your painting and let us see what you have for us,’ cried the king. But the tramp remained motionless and said nothing. Growing impatient, the king stepped forward and reached out to grab the blanket only to freeze in horror at the last moment. ’You see,’ said the tramp quietly, ’there is no blanket covering the painting. This is actually just a painting of a cloth covering a painting. And whereas your famous artist is content to fool nature, I’ve made the king of the whole country look like a clueless little twat.