Michael Mcdowell Quotes

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Someone once asked me what I thought horror fiction did. What its purpose was . . . I replied that when I wrote horror fiction, I tried to take the improbable, the unimaginable, and the impossible, and make it seem not only possible--but inevitable.
Michael McDowell
I would be perfectly willing if a publisher came up to me and said, "I need a novel about underwater Nazi cheerleaders and it has to be 309 pages long and I need fourteen chapters and a prologue.
Michael McDowell
In the hour before a thunderstorm, the color of the forest deepens: the pine needles take on a dense vibrant greenness they possess at no other time, the slender trunks go black, and the leaden sky above sinks lower by the minute.
Michael McDowell (Cold Moon Over Babylon)
Savage mothers eat their children!
Michael McDowell (The Elementals)
All deaths are sudden, no matter how gradual the dying may be.
Michael McDowell (Blackwater: The Complete Caskey Family Saga (Blackwater, #1-6))
To have a family is real strange,” said India thoughtfully. “All these people you wouldn’t have anything to do with except that they’re related to you.
Michael McDowell (The Elementals)
I am a commercial writer and I'm proud of that. I am writing things to be put in the bookstore next month. I think it is a mistake to try to write for the ages.
Michael McDowell
Alcoholism is a disease,” she said. “Like athlete’s foot. Or herpes. It’s nothing to be ashamed of. Luker and I have lots of friends who are alcoholics. And speed freaks too.” “Well,
Michael McDowell (The Elementals)
And among adults, adultery is an unmentionable thing, which only occurs in the Bible and in Mobile.
Michael McDowell (The Amulet)
India had previously entertained no sympathy for the Southern way of life, with its pervasive friendliness, its offhanded viciousness, its overwhelming lassitude.
Michael McDowell (The Elementals)
She had got beyond despair.
Michael McDowell (The Amulet)
she hates that levee the way you and I hate hell and the Republicans.
Michael McDowell (Blackwater: The Complete Caskey Family Saga (Blackwater, #1-6))
It’s bad when the dead talk in dreams,” said Odessa.
Michael McDowell (The Elementals)
Daylight had not brought a solution, but it had accorded indifference.
Michael McDowell (The Elementals)
Look down fair moon and bathe this scene, Pour softly down night’s nimbus floods on faces ghastly, swollen, purple, On the dead on their backs with arms toss’d wide, Pour down your unstinted nimbus sacred moon. —Walt Whitman Sequel to Drum-Taps
Michael McDowell (Cold Moon Over Babylon)
I sort of wish that was what happened though, Ginny, because that would mean the girl is all right. Fourteen-year-old girls have run off before." Ginny eyed the sheriff severely. "Not fourteen-year-old girls who had grandmas like Evelyn Larkin.
Michael McDowell (Cold Moon Over Babylon)
Southerners are an easygoing race when it comes to aberrations of conduct. They will react with anger if something out of the ordinary is presented as a possible future occurrence; but if an unusual circumstance is discovered to be an established fact, they will usually accept it without rancor or judgment as part of the normal order of things.
Michael McDowell (Blackwater: The Complete Caskey Family Saga (Blackwater, #1-6))
I never worked on a farm, he told himself ruefully, but I think I know a vegetable when I see one.
Michael McDowell (The Amulet)
Merle Weaver stroked the little girl's hair and thought of the two corpses in the rear of the truck.
Michael McDowell (The Amulet)
She’s got manners, but what has she got in the way of morals?” “Oh,” said Luker blithely, “she and I don’t have any morals. We have to get along with a scruple or two.” “I
Michael McDowell (The Elementals)
Benjamin Stallworth understood his shortcomings and was rendered unhappy by that understanding. He was upright enough to wish for correction but too weak to enforce it upon himself.
Michael McDowell
They placed the board between them on the kitchen table, and Becca took the suddenly inspired precaution of sprinkling the planchette with holy water taken from a bottle in the pantry placed next to the vanilla extract.
Michael McDowell (The Amulet)
To them all, Beldame represented the fair and possible reward for distress, misfortune, and labor in this world—it was to them a heaven on earth, and resembled the other, preached-of heaven in that it was bright, remote, timeless, and empty.
Michael McDowell (The Elementals)
That her niece should find such profound pleasure in the company of a thirteen-year-old black girl--and, more to the point, always within the precincts of Elinor's house--was a slap in Mary-Love's face. She decided, without saying anything more to James, to wreck Grace's perfection of happiness. Grace would learn that she, Mary-Love, was the source of all felicity within the Caskey family.
Michael McDowell (The Levee)
That was the great misconception about men: because they dealt with money, because they could hire someone on and later fire him, because they alone filled state assemblies and were elected congressional representatives, everyone thought they had power. Yet all the hiring and firing, the land deals and the lumber contracts, the complicated process for putting through a constitutional amendment-these were only bluster. They were blinds to disguise the fact of men's real powerlessness in life. Men controlled the legislatures, but when it came down to it, they didn't control themselves. Men had failed to study their own minds sufficiently, and because of this failure they were at the mercy of fleeting passions; men, much more than women, were moved by petty jealousies and the desire for petty revenges. Because they enjoyed their enormous but superficial power, men had never been forced to know themselves the way that women, in their adversity and superficial subservience, had been forced to learn about the workings of their brains and their emotions.
Michael McDowell (The Flood (Blackwater, #1))
In the middle of the afternoon, when the heat was at its worst, having accumulated around the concrete since early in the morning, I had ten minutes or so of respite in my tiny office. The walls there were blistering. I could scarcely breathe. But I fled there as if it had been a cool, wet, autumn day inside. I was not looking for relief from the heat so much as relief from the crowds. They licked away my being with their idiot tongues.
Michael McDowell
Mary-Love liked to see herself as the family cornucopia, dispensing all manner of good things, unstintingly, unceasingly. She considered herself amply rewarded by her children's gratitude, and if she perceived that her children were not sufficiently grateful, she could make something of that, too.
Michael McDowell (The Levee)
No matter what you've gone through, no matter what you've done and suffered, no matter what horrible mistakes you've made, no matter what you've given up that you should have held on to, no matter what you've held on to that you should have let go, no matter what has happened to make you unhappy, you cannot wish for it to have happened any other way.
Michael McDowell (Rain (Blackwater, #6))
Somebody might start to take you serious, and lift your chin with a rifle barrel. Lift it right through the top of your damned head.
Michael McDowell (Blackwater: The Complete Saga)
Daylight had not brought a solution, but it had accorded indifference. Having
Michael McDowell (The Elementals)
È un errore madornale credere che i pettegolezzi interessino più alle donne che agli uomini.
Michael McDowell (The Flood (Blackwater, #1))
You know what you should have done, added Luker, you should have ripped his balls off and stapled them to the back of his throat.
Michael McDowell (The Elementals)
I had never liked my parents so much that I wished to be reminded of them every time I walked into a room. I
Michael McDowell (Toplin)
There’s no point in advertising a circus when everybody hates the clown.
Michael McDowell (The Elementals)
In the night, the house settled. Creaks sounded in the hallways like errant footsteps, windows popped in their frames, china rattled in the cupboards, and pictures suddenly slipped awry on the walls.
Michael McDowell (The Elementals)
To the little girl the house seemed a gigantic head, and she only a morsel of meat conveniently positioned in its gaping mouth. The front porch was that grinning mouth, the white porch railing its lower teeth, the ornamental wooden frieze above its upper teeth, the painted wicker chair on which she perched its green wagging tongue. Frances sat and rocked and wondered when the jaws would clamp shut.
Michael McDowell (The Levee (Blackwater, #2))
No mother and daughter in Perdido were closer than Mary Love Caskey and Sister. But it was not to be supposed that either told the other everything she thought or knew. In fact, each of them liked to keep little secrets from the other. Secrets which could be sprung at some opportune moment to produce a grand effect, rather in the manner of a little boy tossing lighted firecrackers beneath his sister's bed while she napped on a hot summer afternoon.
Michael McDowell (Blackwater, Vol. 1: The Flood / The Levee / The House (Blackwater, #1–3))
Southerners are an easygoing race when it comes to aberrations of conduct. They will react with anger if something out of the ordinary is presented as a possible future occurrence; but if an unusual circumstance is discovered to be an established fact, they will usually accept it without rancor or judgment as part of the normal order of things. To have informed the men who hung about the seed and feed stores that two women had bought Gavin Pond and were turning it into the biggest farm in the county would have brought out calls to repeal the voting rights amendment; but when confronted with Grace, the men were perfectly willing to accept her, her cousin Lucille, and Lucille's little boy.
Michael McDowell (The War (Blackwater, #4))
Grace began to understand. "I have friends," she protested. "I have Zaddie." "Zaddie is just a little colored girl," Mary-Love pointed out. "It's all right to play with Zaddie, but she's not your real friend. John Robert can be your real little friend.
Michael McDowell (The Levee (Blackwater, #2))
Is Zaddie Sapp deformed because she was born with black skin?” “Of course not—” “Are Grace and Lucille deformed because they have given up men and live out at Gavin Pond Farm together?” “No, Mama, that’s not—” “That’s how they were born, darling! Zaddie was born with black skin and Grace Caskey was born to dote on girls, and just because they’re different, do you think Creola Sapp should have said, ‘I’m not going to give birth to this child’? Do you think Genevieve and James should have said, ‘We don’t want a little baby if she’s not going to grow up to be just like everybody else in this town’?
Michael McDowell (Blackwater: The Complete Caskey Family Saga (Blackwater, #1-6))
What he did know was that Elinor was very much like his mother: strong-willed and dominant, wielding power in a fashion he could never hope to emulate. That was the great misconception about men: because they dealt with money, because they could hire someone on and later fire him, because they alone filled state assemblies and were elected congressional representatives, everyone thought they had power. Yet all the hiring and firing, the land deals and the lumber contracts, the complicated process for putting through a constitutional amendment—these were only bluster. They were blinds to disguise the fact of men’s real powerlessness in life. Men controlled the legislatures, but when it came down to it, they didn’t control themselves. Men had failed to study their own minds sufficiently, and because of this failure they were at the mercy of fleeting passions; men, much more than women, were moved by petty jealousies and the desire for petty revenges. Because they enjoyed their enormous but superficial power, men had never been forced to know themselves the way that women, in their adversity and superficial subservience, had been forced to learn about the workings of their brains and their emotions.
Michael McDowell (Blackwater: The Complete Caskey Family Saga (Blackwater, #1-6))
La cosa su cui Ivey l'aveva messo in guardia lo afferrò. Gli bloccò le braccia lungo i fianchi con una forza tale che le ossa si frantumarono dall'interno, gli spremette i polmoni finché restarono senz'aria, e lui si preparò ad affrontare la lingua nera e ruvida che gli avrebbe cavato gli occhi. Incapace di trattenersi riaprì le palpebre, ma là sotto, così lontano dalla superficie, non riuscì a vedere nulla. Poi sentì qualcosa di spesso e ruvido che gli premeva contro il naso e la bocca. Quando gli raggiunse gli occhi, Buster Sapp sprofondò in un nero più insondabile, oscuro e pietoso del freddo Perdido. Di lui non si trovò più alcuna traccia, ma nessuno si sarebbe aspettato il contrario.
Michael McDowell (The Flood (Blackwater, #1))
At breakfast this morning I drank a whole glass of grapefruit juice and it wasn’t till after I had put it down in the sink that I thought about putting vodka in it. And if that’s not being cured, I don’t know what is!
Michael McDowell (The Elementals)
Oh, law! This morning I look one day older than God and a year younger than water! Last night I didn’t close my eyes. At five o’clock this morning I was still awake in my bed, turning and tossing and thinking about Big D.” “Dallas?” “Dying, precious—Big D is death.
Michael McDowell (The Elementals)
The ceilings of hospital rooms are stained with the oily residue of souls spat out of dying patients’ parched mouths. The
Michael McDowell (Toplin)
- Je suppose que j'aurai quand même du mal à te convaincre d'assister à l'inauguration... - Seigneur, jamais de la vie ! s'exclama Elinor avec un rire enjoué. En plus, je l'ai déjà fêtée à ma façon.
Michael McDowell (The Levee (Blackwater, #2))
Even the servants seemed to have been affected by the Caskey women’s assumption of power. Zaddie, Ivey, Roxie, and Luvadia did and said what they saw fit to do and say.
Michael McDowell (Blackwater: The Complete Caskey Family Saga (Blackwater, #1-6))
What's in that house, child, knows more than you know. What's in that house don't come out of your mind. It don't have to worry 'bout rules and behaving like a spirit ought to behave. It does what it does to fool you, it wants to trick you into believing what's not right. It's got no truth to it. What it did last week it's not gone be doing today. You see something in there, it wasn't there yesterday, it's not gone be there tomorrow. You stand at one of them doors thinking something's behind it—nothing's behind it. It's waiting for you upstairs, it's waiting for you downstairs. It's standing behind you. You think it's buried in the sand, why then, it's gone be standing behind that door after all! And you don't ever know what it is you looking for. You don't ever know what it is you gone see! Wasn't no ghost you saw, wasn't Martha Ann.
Michael McDowell (The Elementals)
There's no point in advertising a circus when everybody hates the clown.
Michael McDowell (The Elementals)
Les frontons, pignons et cheminées qui n'avaient pas été arrachés et emportés par le courant saillaient de la surface sombre et luisante tels des signaux de détresse de pierre, de brique et de bois; si bien que les branchages et les déchets non identifiés - bouts de vêtements, débris de meubles - qui frôlaient leurs appels à l'aide muets, s'y accrochaient dans leur dérive, comme autant d'anneaux de crasse autour de doigts tendus.
Michael McDowell (La Crue (Blackwater, #1))
La luz del sol que entraba por la ventana iluminada ahora la marca que el agua había dejado sobre el oscuro papel pintado de la pared.
Michael McDowell (The Flood (Blackwater, #1))
El salón estaba decorado con ramas de cicuta y cedro que esa misma mañana colgaban aún sobre el río Perdido
Michael McDowell (Blackwater, Vol. 1: The Flood / The Levee / The House (Blackwater, #1–3))
E comunque i pesci rimangono nei letti dei fiumi, come se non si accorgessero proprio di avere altri dieci metri di spazio sopra la testa in cui poter nuotare. L’acqua di una piena è putrida, piena di cose putride, e i pesci gatto e i persici, pur non amando quella inconsueta oscurità soprastante, nuotano attorno alle solite vecchie rocce, ai cespugli di alghe, ai familiari piloni dei ponti.
Michael McDowell (The Flood (Blackwater, #1))
Actor Malcolm McDowell once remarked on the director’s peculiar dining habits: scooping up a mouthful of dessert, then a forkful of steak, then back to dessert again. “This is how Napoléon used to eat,” Kubrick explained.
Michael Schulman (Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears)
E la casa aveva anche un odore particolare, un misto della sabbia cotta dal sole che la circondava, dell'argilla rossa dell'argine, del Perdido che scorreva oltre il terrapieno, dell'umidità trattenuta dalle mura spesse e dalle stanze grandi e buie, dei cibi preparati da Zaddie in cucina, e di qualcosa che era arrivato quand'era vuota e non se n'era mai andato. Persino nei mesi di siccità, quando i raccolti avvizzivano nei campi e gli alberi delle foreste erano cosí secchi che bastava un fulmine per ridurre in cenere ettari di bosco in cinque minuti, la casa conservava quella nota di acqua di fiume, tanto che le tappezzerie sembravano umide al tatto, le buste nuove si incollavano da sole e l'impasto delle crostate lievitava male. Era come se l'intera casa fosse avviluppata in una foschia invisibile salita dal Perdido.
Michael McDowell (Blackwater, Vol. 1: The Flood / The Levee / The House (Blackwater, #1–3))
«Quindi esistono davvero creature che ti mangiano?» «Non in questo ripostiglio» rispose sua madre, con inquietante evasività.
Michael McDowell (Blackwater)
He was being sought for.
Michael McDowell (The Elementals)
India returned to her kneading, but repeated under her breath, “I don’t believe it, I don’t believe it!
Michael McDowell (The Elementals)
[…] Although it’s hard to imagine it now, there was a time when horror was nearly unrivaled in popularity with the general reader. In the 1970s and ’80s, local bookstores had whole shelves devoted to it. You couldn’t miss them: they were the ones stocked between Mystery and Fantasy/Sci-Fi, with all the black and red covers, the raised titles dripping blood, and the leering skeletons. Lots and lots of skeletons. These books had notoriously short shelf lives, but because there was such a demand for them—owing largely to the success of books like The Exorcist and writers like Stephen King, Anne Rice, and Peter Straub—it was possible to hack a living if you could turn them out fast enough. A lot of folks tried their hand, and a lot of bad books were published. So many that the market eventually collapsed under its own weight. Among those bad books, though, were some truly great ones written by great writers—writers like Ramsey Campbell, Robert R. McCammon, and Chelsea Quinn Yarbro, to name just three—who delivered lasting contributions to the genre. While it would be nice to think that all the deserving books were saved from being swept away in the vast tide, that just wasn’t the case. [...] Excerpt from ”Introduction” to Michael McDowell’s ”Blackwater: The Complete Saga” (2017, Kindle edition)
Nathan Ballingrud
Giggling like schoolgirls we dry our hair. Meg looks like Andie McDowell in Four Weddings and a Funeral. I look like Janet Leigh in Psycho before the knife starts shredding the shower curtain.
Michael Robotham (The Secrets She Keeps)
Barbara, shut up,” said her son Luker. “You know very well why it’s a private funeral.” “Why?” “Because we are the only people in Mobile who would have come. There’s no point in advertising a circus when everybody hates the clown.
Michael McDowell (The Elementals)
it didn’t make a damn bit of difference if he won or lost, he wasn’t gone be saddled with a wife who could drink more than a barnful of Irishmen
Michael McDowell (The Elementals)
The words yesterday and tomorrow might have been excised from their vocabulary: for yesterday had entertained nothing that was worth today’s speech, and tomorrow could promise no change from today.
Michael McDowell (The Elementals)
Saldré adelante y algún día le devolveré el dinero. El aserradero Caskey también saldrá adelante, y mamá, tu serás cada vez más rica. Y cuando te mueras, llenaremos tu ataud con billetes de cien dólares, y te pondremos en el cementerio junto a Genevieve. Supongo que te lo pasarás como nunca, con Genevieve como compañía y todo ese dinero para mantenerte caliente.
Michael McDowell (La casa (Blackwater, #3))