Monster Book Quotes

In a way, it's nice to know that there are Greek gods out there, because you have somebody to blame when things go wrong. For instance, when you're walking away from a bus that's just been attacked by monster hags and blown up by lightning, and it's raining on top of everything else, most people might think that's just really bad luck; when you're a half-blood, you understand that some devine force is really trying to mess up your day.

Stories are important, the monster said. They can be more important than anything. If they carry the truth.

I mean, most people want to escape. Get out of their heads. Out of their lives. Stories are the easiest way to do that.

The beautiful thing about books was that anyone could open them.

Writing a book is an adventure. To begin with it is a toy and an amusement. Then it becomes a mistress, then it becomes a master, then it becomes a tyrant. The last phase is that just as you are about to be reconciled to your servitude, you kill the monster and fling him to the public.

There once was a girl,” he murmured, “clever and good, who tarried in shadow in the depths of the wood. There also was a King—a shepherd by his crook, who reigned over magic and wrote the old book. The two were together, so the two were the same: “The girl, the King… and the monster they became.

Loads of children read books about dinosaurs, underwater monsters, dragons, witches, aliens, and robots. Essentially, the people who read SF, fantasy and horror haven't grown out of enjoying the strange and weird.

When everyone is determined to present someone as a monster, there are two possibilities: either he’s a saint or they themselves are not telling the whole story.

They used to call the devil the father of lies. But for someone whose sin is meant to be pride, you'd think that lying would leave something of a sour taste. So my theory is that when the devil wants to get something out of you, he doesn't lie at all. He tells you the exact, literal truth. And he lets you find your own way to hell.

I didn’t remember how long we talked, but somewhere amidst her laughter and smiles, I decided I would rip the world apart for her.

What is it with you and that book?" Rafael laughed. "We have a personal relationship.

Mr. Pugh turned bright red. His cheeks puffed up like the galls of shad from the nearby river. His green- monster eyes rolled around his face, and he pounded both fists down on the table, and through grinding teeth and snorting gasps hollered, “INDEED NOT, MISS KNAPP! Slaves are not allowed to read and write. We have you here with good and steady pay to instruct our children and nothing else. Going near that boy, or any other slave, with chalk or book learnin’ is strictly forbidden! Do you understand me?

That's the beautiful thing about innocence; even monsters have a pocketful of childhood memories with which to seek comfort with.

She was already mine. Her fragile, tender body was already in the mouth of a terrible monster, I just had to grit my teeth for the blood to start flowing.

He wanted to be alone, and he wanted to be found.

Cinderella was such a dork. She left behind her glass slipper at the ball and then went right back to her step-monster's house. It seems to me she should have worn the glass slipper always, to make herself easier to find. I always hoped that after the prince found Cinderella and they rode away in their magnificent carriage, after a few miles she turned to him and said, "Could you drop me off down the road please? Now that I've finally escaped my life of horrific abuse, I'd like to see something of the world, you know?... I'll catch back up with you later, Prince, once I've found my own way.

If this were a book or movie, she thought, she'd be able to read the stars and get her bearings. Characters always had just the right random skill set to master the situation at hand. Like, Thank god for that summer on an uncle's smuggling boat and the handsome deckhand who taught me celestial navigation. Ha.

If I like a book, I devour it in one sitting, and then I forget a lot. It's fine with me, because I read them over and over again.

There's a monster at the end of this book. It's the blank page where the story ends and you're left alone with yourself and your thoughts.

What humans want most of all, is to be right. Even if we're being right about our own doom. If we believe there are monsters around the next corner ready to tear us apart, we would literally prefer to be right about the monsters, than to be shown to be wrong in the eyes of others and made to look foolish.

Literature is humanity's broad-minded alter-ego, with room in its heart for monsters, even for you. It's humanity without the judgement.

As a child, I read because books–violent and not, blasphemous and not, terrifying and not–were the most loving and trustworthy things in my life. I read widely, and loved plenty of the classics so, yes, I recognized the domestic terrors faced by Louisa May Alcott’s March sisters. But I became the kid chased by werewolves, vampires, and evil clowns in Stephen King’s books. I read books about monsters and monstrous things, often written with monstrous language, because they taught me how to battle the real monsters in my life. And now I write books for teenagers because I vividly remember what it felt like to be a teen facing everyday and epic dangers. I don’t write to protect them. It’s far too late for that. I write to give them weapons–in the form of words and ideas-that will help them fight their monsters. I write in blood because I remember what it felt like to bleed.

You destroy buildings, fight monsters openly in the streets of the city, work with the police, show up in newspapers, advertise in the phone book, and ride zombie dinosaurs down Michigan Avenue, and think that you work in the shadows? Be reasonable.

When I was small and easily wounded, books were my carapace. If I were recalled to my hurts in the middle of a book, they somehow mattered less. My corporeal life was slight; the dazzling one in my head was what really mattered. Returning to books was coming home.

There once was a girl,” he said, his voice slick, “clever and good, who tarried in shadow in the depths of the wood. There also was a King—a shepherd by his crook, who reigned over magic and wrote the old book. The two were together, so the two were the same: “The girl, the King, and the monster they became.

If you want the motivation back, you must feed it Feed it everything. Books, television, movies, paintings, stage plays, real-life experience. Sometimes feeding simply means working, working through nonmotivation, working even when you hate it. We create art for many reasons - wealth, fame, love, admiration - but I find the one thing that produces the best results is desire. When you want the thing you're creating, the beauty of it will shine through, even if the details aren't all in order. Desire is the fuel of creators, and when we have that, motivation will come in its wake.

I'm going to let that slide because you seemed to have been in the middle of being eaten by a monster.” He was clutching his midsection as if from pain, the squashed remnants of a soft brown cookie squeezing between his fingers as though dough from a pasta machine.

We were destined to fight until the sky bled and worlds shook. But when he touched me, cradled my face as if I was the most fragile, beautiful being in the world, I melted.

Frozen yogurt is tastier than ice cream; nobody is too old for cartoons; bald men are sexy; chocolate is the best medicine; BIG books are better; cats secretly rule the planet; and everything should be available in the color pink, including monster trucks.

Monster? Monster, you say?” He scratched his chest, blood dripping from what seemed to be an old wound. “No, my friend. I have SEEN real monsters. I have faced real darkness, heart beating out of your chest with death all around you. The stench of piss and shit as men empty themselves in their final moments. I have experienced real terror. Terror, a simple man like you, could never fathom

Texting, even browsing the Internet - all these things can attract monsters.

There once was a girl clever and good, who tarried in shadow in the depths of the wood. There also was a king - a shepard by his crook, who reigned over magic and wrote the old book. The two were together, so the two were the same...The girl, the King...and the monster they became.

The angel destroyed me! He seduced me with a pure voice, spoke kind words, and stroked my hair to lower my guard, to make me trust him, to trick me! He sullied my body, my voice, my heart; remade me as a terrifying monster; turned me into his companion! The angel was a disfigured phantom wearing a mask!

I had a veritable mania for finishing whatever I began, which often got me into difficulties. On one occasion I started to read the works of Voltaire when I learned, to my dismay, that there were close on one hundred large volumes in small print which that monster had written while drinking seventy-two cups of black coffee per diem. It had to be done, but when I laid aside the last book I was very glad, and said, “Never more!

Don't you know? Love is the purest form of destruction there is.

Yeah, I mean, most people want to escape. Get out of their heads. Out of their lives. Stories are the easiest way to do that.

You already consume my every waking thought. Must you consume my dreams as well?

She is pretty for a fire-wielding death bitch that tried to kill us all.

Daja doesn't exactly need to be tested on whether she's honorable or not." "Doesn't she? Don't all of you? This is your first taste of the things which may come from your being powerful mages. People will offer you gold, status, even love. I want to know how you will react. If want to know if your teachers will release greedy, thoughtless monsters into the world.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

A necessary monster.

The presence of someone else's beauty is not the absence of your own.

Shotgunning anybody in this room would be the moral equivalent of killing a car, a vacuum cleaner, a Barbie doll. Erasing a computer disk. Burning a Book. Probably that goes for killing anybody in the world. We're all such products.

He had read books, newspapers and magazines. He knew that if you ran away you sometimes met bad people who did bad things to you; but he had also read fairy tales, so he knew that there were kind people out there, side by side with the monsters.

Damn it! I knew she was a monster! John! Amy! Listen! Guard your buttholes.

The books on plastic surgery, the pamphlets and brochures all promised to help me live a more normal, happy life; but less and less, this looked like what I'd want. What I wanted looked more and more like what I'd always been trained to want. What everybody wants. Give me attention. Flash. Give me beauty. Flash. Give me peace and happiness, a loving relationship, and a perfect home. Flash. Brandy says, "The best way is not to fight it, just go. Don't be trying all the time to fix things. What you run from only stays with you longer. When you fight something, you only make it stronger." She says, "Don't do what you want." She says, "Do what you don't want. Do what you're trained not to want." It's the opposite of following your bliss. Brandy tells me, "Do the things that scare you the most.

His stories are good to hear at night, because we can dream about them asleep; and good in the morning, too, because then we can dream about them awake. (Cowslip)

Why can’t we ever fight cute, helpless monsters? Like the ones on Sesame Street?

Without guilt we would all be monsters. And memory is the ink with which we list our crimes.

We are very fond of books. You can learn nearly everything from them that rabbits can't teach you.

She was my enemy, yet my enemy was the only one who seemed to understand me and the demons I fought.

Do you think she is?" Her voice trembled. Her heart throbbed as she waited for him to answer. "You think they've killed her?" Every moment wrapped around Scarlet's neck, strangling her, until the only possiblbe word from Wolf's mouth had to be yes. Yes, she was dead. Yes, she was gone. They'd murdered her. These monsters had murdered her. Scarlet pressed her palms into the crate, trying to push through the plastic. "Say it." "No," he murmured, shoulder sinking, "No, I don't think they've killed her. Not yet." Scarlet shivered with relief. She covered her face with both hands, dizzy with the hurricane of emotions. "Thank the stars," she whispered. "Thank you.

You battled monsters. You sweat and cried your way to this one prolific moment where you finally realize that those dark days and sleepless nights were pre-requisites to your becoming.

The most important thing we've learned, So far as children are concerned, Is never, NEVER, NEVER let Them near your television set -- Or better still, just don't install The idiotic thing at all. In almost every house we've been, We've watched them gaping at the screen. They loll and slop and lounge about, And stare until their eyes pop out. (Last week in someone's place we saw A dozen eyeballs on the floor.) They sit and stare and stare and sit Until they're hypnotised by it, Until they're absolutely drunk With all that shocking ghastly junk. Oh yes, we know it keeps them still, They don't climb out the window sill, They never fight or kick or punch, They leave you free to cook the lunch And wash the dishes in the sink -- But did you ever stop to think, To wonder just exactly what This does to your beloved tot? IT ROTS THE SENSE IN THE HEAD! IT KILLS IMAGINATION DEAD! IT CLOGS AND CLUTTERS UP THE MIND! IT MAKES A CHILD SO DULL AND BLIND HE CAN NO LONGER UNDERSTAND A FANTASY, A FAIRYLAND! HIS BRAIN BECOMES AS SOFT AS CHEESE! HIS POWERS OF THINKING RUST AND FREEZE! HE CANNOT THINK -- HE ONLY SEES! 'All right!' you'll cry. 'All right!' you'll say, 'But if we take the set away, What shall we do to entertain Our darling children? Please explain!' We'll answer this by asking you, 'What used the darling ones to do? 'How used they keep themselves contented Before this monster was invented?' Have you forgotten? Don't you know? We'll say it very loud and slow: THEY ... USED ... TO ... READ! They'd READ and READ, AND READ and READ, and then proceed To READ some more. Great Scott! Gadzooks! One half their lives was reading books! The nursery shelves held books galore! Books cluttered up the nursery floor! And in the bedroom, by the bed, More books were waiting to be read! Such wondrous, fine, fantastic tales Of dragons, gypsies, queens, and whales And treasure isles, and distant shores Where smugglers rowed with muffled oars, And pirates wearing purple pants, And sailing ships and elephants, And cannibals crouching 'round the pot, Stirring away at something hot. (It smells so good, what can it be? Good gracious, it's Penelope.) The younger ones had Beatrix Potter With Mr. Tod, the dirty rotter, And Squirrel Nutkin, Pigling Bland, And Mrs. Tiggy-Winkle and- Just How The Camel Got His Hump, And How the Monkey Lost His Rump, And Mr. Toad, and bless my soul, There's Mr. Rat and Mr. Mole- Oh, books, what books they used to know, Those children living long ago! So please, oh please, we beg, we pray, Go throw your TV set away, And in its place you can install A lovely bookshelf on the wall. Then fill the shelves with lots of books, Ignoring all the dirty looks, The screams and yells, the bites and kicks, And children hitting you with sticks- Fear not, because we promise you That, in about a week or two Of having nothing else to do, They'll now begin to feel the need Of having something to read. And once they start -- oh boy, oh boy! You watch the slowly growing joy That fills their hearts. They'll grow so keen They'll wonder what they'd ever seen In that ridiculous machine, That nauseating, foul, unclean, Repulsive television screen! And later, each and every kid Will love you more for what you did.

I told you and told you there was nothing to be afraid of.

Many [book] even lay flat in the floor open. Their spines upward. Elinor couldn't bear to look! Didn't the monster know that was the way to break a book's neck?

I'm interested in things women do that aren't spoken about. Manto's stories let me breathe. They make me feel like less of a monster.

I couldn't picture heaven. How could a place be any good at all if it didn't have the things there you enjoyed doing? If there were no comic books, no monster movies, no bikes, and no country roads to ride them on? No swimming pools, no ice cream, no summer, or barbecue on the Fourth of July? No thunderstorms, and front porches on which to sit and watch them coming? Heaven sounded to me like a library that only held books about one certain subject, yet you had to spend eternity and eternity and eternity reading them. What was heaven without typewriter paper and a magic box?

The face and body may be perfect, but if a twisted gene or a malformed egg can produce physical monsters, may not the same process produce a malformed soul?

On ol' Halloween Night These monsters join the living If they had it their way They'd stay until Thanksgiving

Account books form a narrative as engaging as any tale of sea monsters or cannibals.

There were some books that reached through the noise of life to grab you by the collar and speak only of the truest things. A Confession was a book like that. In it, Tolstoy related a Russian fable about a man who, being chased by a monster, jumps into a well. As the man is falling down the well, however, he sees there's a dragon at the bottom, waiting to eat him. Right then, the man notices a branch sticking out of the wall, and he grabs on to it, and hangs. This keeps the man from falling into the dragon's jaws, or being eaten by the monster above, but it turns out there's another little problem. Two mice, one black and one white, are scurrying around and around the branch, nibbling it. It's only a matter of time before they will chew through the branch, causing the man to fall. As the man contemplates his inescapable fate, he notices something else: from the end of the branch he's holding, a few drops of honey are dripping. The man sticks out his tongue to lick them. This, Tolstoy says, is our human predicament: we're the man clutching the branch. Death awaits us. There is no escape. And so we distract ourselves by licking whatever drops of honey come within our reach.

Are you kind enough, on your little planet, not to shut that rhythm down? Not to crush underfoot the singers of songs and tellers of tales and wearers of silk? Because it's monsters who do that. Who extinguish art. Who burn books. Who ban music. Who yell at anyone with ears to turn off that racket. Who cannot see outside themselves clearly enough to sing their truth to the heavens. Do you have enough goodness in your world to let the music play? Do you have soul?

Didn't you finish your chemistry in school?" "You closed the school and burnt all the books." "Ah, so I did.

That's it then. This is how it ends. I haven't even read Proust.

Monsters are real and ghosts are real too they live inside us and sometimes they win.

If I’m a monster, mademoiselle, it’s because man’s cruelty has made me so.

I will never be a leader like you." "Excellent. Be greater.

All this time, deep in the pit of my stomach, the shadowy monster of grief and fear and anger has been in the corner where I locked it, but it’s been growing, new ropes of angry black lashing out in every direction, starving, mad with hunger. A demon that’s going to devour me from the inside out.

Do you know the rest?"Doug asked me expectantly. "What?The Achilles was a dysfuctional psychopath? Yeah I know that." "Well, yeah, everyone knows that. I mean the really cool part. About Thetis and Peleus." I shook my head, and he continued, professor-like, "Thetis was a sea mymph, and Peleus was a mortal who loved her. Only, when he went to woo her, she was a real bitch about it." "How so?" "She was a shape-shifter." I nearly dropped the book. "What?" Doug nodded. "He approached her, and she turned into all sorts of shit to scare him off - wild animals, forces of natures, monsters, whatever." "What... what'd he do?" "He held on. Grabbed her and wouldn't let go through all of those terrible transformations. No matter what she turned into, he just held on.

I'll tell you a story, I whispered. It always helped me sleep as a child. He nodded, folding his hands over his lap, and closed his eyes. There once was a girl, clever and good, who tarried in shadow in the depths of the wood. There also was a King, a shepherd by his crook, who reigned over magic and wrote the old book. The two were together, so the two- I couldn't go on. Elspeth. No. I'm not ready. Not yet. Finish the story, dear one. My voice shook. The two were together- Together. So the two were the same. The girl, he whispered, honey and oil and silk. The King... We said the final words together, our voices echoing, listless, through the dark. A final note. An eternal farewell. And the monster they became.

I've created a monster, haven't I?" said Merlin, staring at the animated figure incredulously. "I think that, technically, I was already a monster," the dragon replied. "Now I am a monster with social networking skills. Or I would be, if I had a Twitter account. And possibly a Facebook. Do I want a Facebook? Is it a book of faces? Is it the same as MySpace? Which of course begs the question: what is MySpace?

What about evil, you may ask? Aren’t some people just evil, just monsters, and aren’t such people just unforgivable? I do believe there are monstrous and evil acts, but I do not believe those who commit such acts are monsters or evil. To relegate someone to the level of monster is to deny that person’s ability to change and to take away that person’s accountability for his or her actions and behavior.

Fundamentalist Christianity: fascinating. These people actually believe that the world is twelve thousand years old. Swear to God. Based on what? I asked them. "Well, we looked at all the people in the Bible and we added 'em up all the way back to Adam and Eve, their ages? Twelve thousand years." "Well, how fucking scientific, OK. I didn't know that you'd gone to so much trouble there. That's good. You believe the world's twelve thousand years old?" "That's right." "OK, I got one word to ask you, a one word question, ready?" "Uh huh." "Dinosaurs." You know, the world's twelve thousand years old and dinosaurs existed, and existed in that time, you'd think it would been mentioned in the fucking Bible at some point: And O, Jesus and the disciples walked to Nazareth. But the trail was blocked by a giant brontosaurus... with a splinter in its paw. And the disciples did run a-screamin'. "What a big fucking lizard, Lord!" "I'm sure gonna mention this in my book," Luke said. "Well, I'm sure gonna mention it in my book," Matthew said. But Jesus was unafraid. And he took the splinter from the brontosaurus paw, and the brontosaurus became his friend. And Jesus sent him to Scotland where he lived in a loch, O so many years, attracting fat American families with their fat fuckin' dollars to look for the Loch Ness Monster. And O the Scots did praise the Lord: "Thank you, Lord! Thank you, Lord!" Twelve thousand years old. But I actually asked this guy, "OK, dinosaur fossils-- how does that fit into your scheme of life? What's the deal?" He goes: "God put those here to test our faith." "I think God put you here to test my faith, dude. I think I've figured this out." Does that-- That's what this guy said. Does that bother anyone here? The idea that God might be fucking with our heads? Anyone have trouble sleeping restfully with that thought in their head? God's running around burying fossils: "Ho ho! We'll see who believes in me now, ha ha! I'm a prankster God. I am killing me, ho ho ho!" You know? You die, you go to St. Peter: "Did you believe in dinosaurs?" "Well, yeah. There were fossils everywhere. (trapdoor opens) Aaaaarhhh!" "You fuckin' idiot! Flying lizards? You're a moron. God was fuckin' with you!" "It seemed so plausible, aaaaaahh!" "Enjoy the lake of fire, fucker!" They believe this. But you ever notice how people who believe in Creationism usually look pretty unevolved. Eyes really close together, big furry hands and feet? "I believe God created me in one day." Yeah, looks like he rushed it. Such a weird belief. Lots of Christians wear crosses around their necks. You think when Jesus comes back he's gonna want to see a fucking cross, man? "Ow." Might be why he hasn't shown up yet. "Man, they're still wearing crosses. Fuck it, I'm not goin' back, Dad. No, they totally missed the point. When they start wearing fishes, I might show up again, but... let me bury fossils with you, Dad. Fuck 'em, let's fuck with 'em! Hand me that brontosaurus head, Dad.

Disclaimer: While Pastafarianism is the only religion based on empirical evidence, it should also be noted that this is a faith-based book. Attentive readers will note numerous holes and contradictions throughout the text; they will even find blatant lies and exaggerations. These have been placed there to test the reader's faith.

And if I really can see the future, then what does it mean? Is there any sense in our lives if everything is already out there, just waiting to happen? For if that were so, then life would be a horrible monster indeed, with no chance of escape from fate, from destiny. It would be like reading a book, but reading it backwards, from the final chapter down to chapter one, so that the end is already known to you.

Oh, monsters are scared', said Lettie. 'And as for grown-ups...' She stopped talking, rubbed her freckled nose with a finger. Then, 'I'm going to tell you something important. Grown-ups don't look like grown-ups on the inside either. Outside, they're big and thoughtless and they always know what they're doing. Inside, they look just like they always have. Like they did when they were your age. The truth is, there aren't any grown-ups. Not one, in the whole wide world.' ... We sat there, side by side, on the old wooden bench, not saying anything. I thought about adults. I wondered if that was true: if they were all really children wrapped in adult bodies, like children's books hidden in the middle of dull, long books. The kind with no pictures or conversations.

When you arrive in the afterlife, you find that Mary Wollstonecraft Shelley sits on a throne. She is cared for and protected by a covey of angels. After some questioning, you find out that God's favorite book is Shelley's Frankenstein. He sits up at night with a worn copy of the book clutched in his mighty hands, alternately reading the book and staring reflectively at the night sky.

One fast more or I'm gone', I realize, gone the way of the last three years of drunken hopelessness which is a physical and spiritual and metaphysical hopelessness you can't learn in school no matter how many books on existentialism or pessimism you read, or how many jugs of vision-producing Ayahuasca you drink, or Mescaline you take, or Peyote goop up with-- That feeling when you wake up with the delirium tremens with the fear of eerie death dripping from your ears like those special heavy cobwebs spiders weave in the hot countries, the feeling of being a bent back mudman monster groaning underground in hot steaming mud pulling a long hot burden nowhere, the feeling of standing ankledeep in hot boiled pork blood, ugh, of being up to your waist in a giant pan of greasy brown dishwater not a trace of suds left in it--The face of yourself you see in the mirror with its expression of unbearable anguish so hagged and awful with sorrow you can't even cry for a thing so ugly, so lost, no connection whatever with early perfection and therefore nothing to connect with tears or anything: it's like William Seward Burroughs' 'Stranger' suddenly appearing in your place in the mirror- Enough! 'One fast move or I'm gone' so I jump up, do my headstand first to pump blood back into the hairy brain, take a shower in the hall, new T-shirt and socks and underwear, pack vigorously, hoist the rucksack and run out throwing the key on the desk and hit the cold street...I've got to escape or die...

Never been around dogs much. My mom had a collie when I was a boy, but she was a gentle animal who stayed around the house, mostly. My father, and the men he knew, all had braces of big surly hunting dogs they used for going after wild hogs. The times he took me with him on those hunts, I was more afraid of those dogs than the feral hogs. Think they could sense it. Always felt like they would’ve taken the least opportunity to sink their teeth into me.

You realize I had half my guard out searching for you?” Eddard Stark said when they were alone. “Septa Mordane is beside herself with fear. She’s in the sept praying for your safe return. Arya, you know you are never to go beyond the castle gates without my leave.” “I didn’t go out the gates,” she blurted. “Well, I didn’t mean to. I was down in the dungeons, only they turned into this tunnel. It was all dark, and I didn’t have a torch or a candle to see by, so I had to follow. I couldn’t go back the way I came on account of the monsters. Father, they were talking about killing you! Not the monsters, the two men. They didn’t see me, I was being still as stone and quiet as a shadow, but I heard them. They said you had a book and a bastard and if one Hand could die, why not a second? Is that the book? Jon’s the bastard, I bet.

Leaves that rustled, twigs that scraped and rattled. But the thin shapes weren't falling, they were scurrying head first down the tree-trunks at a speed that seemed to leave time behind. Some of them had no shape they could have lived with, and some might never have had any skin. She saw their shriveled eyes glimmer eagerly and their toothless mouths gape with an identical infantile hunger. Their combined weight bowed the lowest branches while they extended arms like withered sticks to snatch the child. ("With The Angels")

Hey, nit squat! These are written by norms to scare norms. And do you know what the monsters and demons and rancid spirits are? Us, that’s what. You and me. We are the things that come to the norms in nightmares. The thing that lurks in the bell tower and bites out the throats of the choirboys—that’s you, Oly. And the thing in the closet that makes the babies scream in the dark before it sucks their last breath—that’s me. And the rustling in the brush and the strange piping cries that chill the spine on a deserted road at twilight—that’s the twins singing practice scales while they look for berries. Don't shake your head at me! These books teach me a lot. They don't scare me because they're about me. Turn the page.

When I became convinced that the Universe is natural – that all the ghosts and gods are myths, there entered into my brain, into my soul, into every drop of my blood, the sense, the feeling, the joy of freedom. The walls of my prison crumbled and fell, the dungeon was flooded with light and all the bolts, and bars, and manacles became dust. I was no longer a servant, a serf or a slave. There was for me no master in all the wide world -- not even in infinite space. I was free -- free to think, to express my thoughts -- free to live to my own ideal -- free to live for myself and those I loved -- free to use all my faculties, all my senses -- free to spread imagination's wings -- free to investigate, to guess and dream and hope -- free to judge and determine for myself -- free to reject all ignorant and cruel creeds, all the "inspired" books that savages have produced, and all the barbarous legends of the past -- free from popes and priests -- free from all the "called" and "set apart" -- free from sanctified mistakes and holy lies -- free from the fear of eternal pain -- free from the winged monsters of the night -- free from devils, ghosts and gods. For the first time I was free. There were no prohibited places in all the realms of thought -- no air, no space, where fancy could not spread her painted wings -- no chains for my limbs -- no lashes for my back -- no fires for my flesh -- no master's frown or threat – no following another's steps -- no need to bow, or cringe, or crawl, or utter lying words. I was free. I stood erect and fearlessly, joyously, faced all worlds. And then my heart was filled with gratitude, with thankfulness, and went out in love to all the heroes, the thinkers who gave their lives for the liberty of hand and brain -- for the freedom of labor and thought -- to those who fell on the fierce fields of war, to those who died in dungeons bound with chains -- to those who proudly mounted scaffold's stairs -- to those whose bones were crushed, whose flesh was scarred and torn -- to those by fire consumed -- to all the wise, the good, the brave of every land, whose thoughts and deeds have given freedom to the sons of men. And then I vowed to grasp the torch that they had held, and hold it high, that light might conquer darkness still.

Can you identify the source preventing you from feeling good every single day, from loving yourself unconditionally and making your dreams come true? Is it a voice in your head or a gut wrenching ache that compromises your inner peace and doesn’t allow you to accept the love around you? Is there one thing, or maybe many things, keeping you from forgiving your past and moving forward, tormenting you with lies like “You don’t deserve real love so just settle for whatever you can get,” “You’re not smart enough to achieve your dream so don’t even try,” or “Look at your past… you should hate yourself way more than you actually do!”? Welcome to your Little Monster.

If fairy-story as a kind is worth reading at all it is worthy to be written for and read by adults. They will, of course, put more in and get more out than children can. Then, as a branch of a genuine art, children may hope to get fairy-stories fit for them to read and yet within their measure; as they may hope to get suitable introductions to poetry, history, and the sciences. Though it may be better for them to read some things, especially fairy-stories, that are beyond their measure rather than short of it. Their books like their clothes should allow for growth, and their books at any rate should encourage it.

Being ill when you are a child or growing up is such an enchanted interlude! The outside world, the world of free time in the yard or the garden or on the street, is only a distant murmmur in the sickroom. Inside, a whole world of characters and stories proliferate out of the books you read. The fever that weakens your perception as it sharpens your imagination turns the sickroom into something new, both familiar and strange; monsters come grinning out of the patterns on the curtains and the carpet, and chairs, tables, bookcases and wardrobes burst out of their normal shapes and become mountains and buildings and ships you can almost touch although they're far away. Through the long hours of the night you have the Church clock for company and the rumble of the occasional passing car that throws it's headlights across the walls and ceilings. These are hours without sleep, which is not to say they're sleepless, because on the contrary, they're not about lack of anything, they are rich and full. Desires, memories, fears, passions form labryinths in which we lose and find then lose ourselves again. They are hours where anything is possible, good or bad.

When I was younger, my brother told me that he had the power to shrink me to the size of an ant. In fact, he said, he used to have another sister, but he shrank her down and stepped on her. He also told me that when you became a grown-up, you were admitted into a private party that was full of monsters and horror movie characters. There was Chucky, drinking a cup of coffee. And the mummy on the cover of the Hardy Boys book that used to freak me out, except he was doing the twist while Jason from 'Friday the 13th' played the alto sax. He told me you stayed at the party as long as you had to, making conversation with these creatures, and that was why adults were never afraid of anything. I used to believe everything my brother told me, because he was older and I figured he knew more about the world. But as it turns out, being a grown-up doesn't mean you're fearless. It just means you fear different things.

The Dire Wolf killed the Jakes,” he said. “Who’s this Dire Wolf?” I asked. Figured he was talking about someone he knew. He spoke in a whisper, almost reverently. “The Dire Wolf is the curse of the Downstream People, the Arkansa. He is an evil spirit of the Quapaw.” I sighed and shook my head, knowing how these old Indians liked to throw in a bunch of mythical tribal mumbo-jumbo and superstition to deflect blame from someone they knew. “Well, you know where I can find this Dire Wolf fella?” I asked. “He cannot be found,” the old man said. “Really. You have reason to believe he’s taken off to other parts?” He said nothing for a full quarter minute, his black eyes intently on mine, searching. I could see contempt in them and a sadness. Made me nervous. “No,” old Long Walker answered at last. “He has not departed. Now that he has awakened, he will kill again.

Why Do People become Shadowhunters, by Magnus Bane This Codex thing is very silly. Downworlders talk about the Codex like it is some great secret full of esoteric knowledge, but really itès a Boy Scout manual. One thing that it mysteriously doesnèt address is why people become Shadowhunters. And you should know that people become Shadowhunters for many stupid reasons. So here is an addition to your copy. Greetings, aspiring young Shadowhunter-to-be- or possibly already technically a Shadowhunter. I canèt remember whether you drink from the Cup first or get the book first. Regardless, you have just been recruited by the Monster Police. You may be wondering, why? Why of all the mundanes out there was I selected and invited to this exclusive club made up largely, at least from a historical perspective, of murderous psychopaths? Possible Reasons Why 1. You possess a stout heart, strong will, and able body. 2. You possess a stout body, able will, and strong heart. 3. Local Shadowhunters are ironically punishing you by making you join them. 4. You were recruited by a local institute to join the Nephilim as an ironic punishment for your mistreatment of Downworlders. 5. Your home , village, or nation is under siege by demons. 6. You home, village, or nation is under siege by rogue Downworlders. 7. You were in the wrong place at the wrong time. 8.You know too much, and should be recruited because the secrecy of the Shadow World has already been compromised for you. 9. You know too little; it would be helpful to the Shadowhunters if you knew more. 10. You know exactly the right amount, making you a natural recruit. 11. You possess a natural resistance to glamour magic and must be recruited to keep you quiet and provide you with some basic protection. 12. You have a compound last name already and have convinced someone important that yours is a Shadowhunter family and the Shadowhunteriness has just been weakened by generations of bad breeding. 13. You had a torrid affair with a member of the Nephilim council and now he's trying to cover his tracks. 14. Shadowhunters are concerned they are no longer haughty and condescending enough-have sought you out to add a much needed boost of haughty condescension. 15. You have been bitten by a radioactive Shadowhunter, giving you the proportional strength and speed of a Shadowhunter. 16. Large bearded man on flying motorcycle appeared to take you away to Shadowhunting school. 17. Your mom has been in hiding from your evil dad, and you found out you're a Shadowhunter only a few weeks ago. That's right. Seventeen reasons. Because that's how many I came up with. Now run off, little Shadowhunter, and learn how to murder things. And be nice to Downworlders.

Side by side with the human race there runs another race of beings, the inhuman ones, the race of artists who, goaded by unknown impulses, take the lifeless mass of humanity and by the fever and ferment with which they imbue it turn this soggy dough into bread and the bread into wine and the wine into song. Out of the dead compost and the inert slag they breed a song that contaminates. I see this other race of individuals ransacking the universe, turning everything upside down, their feet always moving in blood and tears, their hands always empty, always clutching and grasping for the beyond, for the god out of reach: slaying everything within reach in order to quiet the monster that gnaws at their vitals. I see that when they tear their hair with the effort to comprehend, to seize this forever unattainable, I see that when they bellow like crazed beasts and rip and gore, I see that this is right, that there is no other path to pursue. A man who belongs to this race must stand up on the high place with gibberish in his mouth and rip out his entrails. It is right and just, because he must! And anything that falls short of this frightening spectacle, anything less shuddering, less terrifying, less mad, less intoxicated, less contaminating, is not art. The rest is counterfeit. The rest is human. The rest belongs to life and lifelessness.

I fantasize about killing people all the time. I think about how easy it would be. What if I just started showing up to Kitan rallies with an I-beam? Knock down the capitol building, force them to pass Universal Health Care, stuff aevery Ayn Rand fanatic into a big mason jar and hurl them into the sun. I could do it, you know. I really could. And then there's these people with their fucking sneers going 'You're a monster! You're a thug! You kill people!' No fucking shit I kill people!! I put holes in mountains! I break shit constantly without even trying! I saved the world on no less than seven fucking occasions, and guess what, super-accuracy is not one of my anomalies! Am I supposed to be impressed that you've never killed anybody? What a bold moral choice from a person who's terrified of violence and scared shitless of going to jail! It's like, have you ever had the option of murdering a bunch of people!? Okay, then why the fuck am I listening to your opinion on the matter!? Every day I don't kill a thousand fucking people, they should throw me a god-damned tickertape parade!

He is a demon, Clarissa,” said Valentine, still in the same soft voice. “A demon with a man’s face. I know how deceptive such monsters can be. Remember, I spared him once myself.” “Monster?” echoed Clary. She thought of Luke, Luke pushing her on the swings when she was five years old, higher, always higher; Luke at her graduation from middle school, camera clicking away like a proud father’s; Luke sorting through each box of books as it arrived at his store, looking for anything she might like and putting it aside. Luke lifting her up to pull apples down from the trees near his farmhouse. Luke, whose place as her father this man was trying to take. “Luke isn’t a monster,” she said in a voice that matched Valentine’s, steel for steel. “Or a murderer. You are.” “Clary!” It was Jace. Clary ignored him. Her eyes were fixed on her father’s cold black ones. “You murdered your wife’s parents, not in battle but in cold blood,” she said. “And I bet you murdered Michael Wayland and his little boy, too. Threw their bones in with my grandparents’ so that my mother would think you and Jace were dead. Put your necklace around Michael Wayland’s neck before you burned him so everyone would think those bones were yours. After all your talk about the untainted blood of the Clave — you didn’t care at all about their blood or their innocence when you killed them, did you? Slaughtering old people and children in cold blood, that’s monstrous.

VI. FINAL WARNING There are monsters in these pages, but as Ogden Nash pointed out in my first short-story collection, Smoke and Mirrors, where there’s a monster, there’s also a miracle. There are some long stories and some short ones. There are a handful of poems, which perhaps might need their own warning for the people who are frightened, disturbed, or terminally puzzled by poetry. (In my second short-story collection, Fragile Things, I tried to explain that the poems come free. They are bonuses for the kind of people who do not need to worry about sneaky and occasional poems lurking inside their short-story collections.) There. Consider yourself warned. There are so many little triggers out there, being squeezed in the darkness even as I write this. This book is correctly labeled. Now all we have to worry about is all the other books, and, of course, life, which is huge and complicated and will not warn you before it hurts you. Thank you for coming. Enjoy the things that never happened. Secure your own mask again after you read these stories, but do not forget to help others.

And there are millions of teens who read because they are sad and lonely and enraged. They read becuase they live in an often-terrible world. They read becuause they believe, despire the callow protestations of certain adults, that books-especially the dark and dangerous ones-will save them. As a child, I read because books-violent and not, blasphemous and not, terrifying and not-were the most loving and trustworthy things in my life. I read widely, and loved plenty of the classics so, yes, I recognized the domestic terrors faced by Lousia May Alcott's March sisters. But I became the kids chased by werewolves, vampires and evil clowns in Stephen King's books. I read books about monsters and monsterous things, often written with monstrous language, becuase they taught me how to battle the real monsters in my life. And now i write books for teenagers because I vividly remember what it felt like to be a teen facing everyday and epic dangers. I don't write to protect them. It's far to late for that. I write to give them weapons-in the form of wors and ideas-that will help them fight their monsters. I write in blood because I remember what it felt like to bleed.

Hushlanders, I’d like to take this opportunity to commend you for reading this book. I realize the difficulty you must have gone through to obtain it – after all, no Librarian is likely to recommend it, considering the secrets it exposes about their kind. Actually, my experience has been that people generally don’t recommend this kind of book at all. It is far too interesting. Perhaps you have had other kinds of books recommended to you. Perhaps, even, you have been given books by friends, parents, or teachers, then told that these books are the type you “have to read.” Those books are invariably described as “important” – which, in my experience, pretty much means that they’re boring. (Words like meaningful and thoughtful are other good clues.) If there is a boy in these kinds of books, he will not go on an adventure to fight against Librarians, paper monsters, and one-eyed Dark Oculators. In fact, the lad will not go on an adventure or fight against anything at all. Instead, his dog will die. Or, in some cases, his mother will die. If it’s a really meaningful book, both his dog and his mother will die. (Apparently, most writers have something against dogs and mothers.)

Adventuring turned out to be boring. Zach thought back to all the fantasy books he'd read where a team of questers traveled overland, and realized a few things. First he'd pictured himself with a loyal steed that would have done most of the walking, so he hadn't anticipated the blister forming on his left heel or the tiny pebble that seemed to have worked its way under his sock, so that even when he stripped off his sneaker he couldn't find it. He hadn't thought about how hot the sun would be either. When he put together his bunch of provisions, he never thought about bringing sunblock. Aragorn never wore sunblock. Taran never wore sunblock. Percy never wore sunblock. But despite all that precedent for going without, he was pretty sure his nose would be lobster-red the next time he looked in the mirror. He was thirsty, too, something that happened a lot in books, but his dry throat bothered him more than it had ever seemed to bother any character. And, unlike in books where random brigands and monsters jumped out just when things got unbearably dull, there was nothing to fight except for the clouds of gnats, several of which Zach was pretty sure he'd accidentally swallowed.

LOOK, I’M ONLY IN THIS FOR THE PIZZA. The publisher was like, “Oh, you did such a great job writing about the Greek gods last year! We want you to write another book about the Ancient Greek heroes! It’ll be so cool!” And I was like, “Guys, I’m dyslexic. It’s hard enough for me to read books.” Then they promised me a year’s supply of free pepperoni pizza, plus all the blue jelly beans I could eat. I sold out. I guess it’s cool. If you’re looking to fight monsters yourself, these stories might help you avoid some common mistakes—like staring Medusa in the face, or buying a used mattress from any dude named Crusty. But the best reason to read about the old Greek heroes is to make yourself feel better. No matter how much you think your life sucks, these guys and gals had it worse. They totally got the short end of the Celestial stick. By the way, if you don’t know me, my name is Percy Jackson. I’m a modern-day demigod—the son of Poseidon. I’ve had some bad experiences in my time, but the heroes I’m going to tell you about were the original old-school hard-luck cases. They boldly screwed up where no one had screwed up before. Let’s pick twelve of them. That should be plenty. By the time you finish reading about how miserable their lives were—what with the poisonings, the betrayals, the mutilations, the murders, the psychopathic family members, and the flesh-eating barnyard animals—if that doesn’t make you feel better about your own existence, then I don’t know what will. So get your flaming spear. Put on your lion-skin cape. Polish your shield, and make sure you’ve got arrows in your quiver. We’re going back about four thousand years to decapitate monsters, save some kingdoms, shoot a few gods in the butt, raid the Underworld, and steal loot from evil people. Then, for dessert, we’ll die painful tragic deaths. Ready? Sweet. Let’s do this.

I try not to hate anybody. "Hate is a four-letter word," like the bumper sticker says. But I hate book reviewers. Book reviewers are the most despicable, loathsome order of swine that ever rooted about the earth. They are sniveling, revolting creatures who feed their own appetites for bile by gnawing apart other people's work. They are human garbage. They all deserve to be struck down by awful diseases described in the most obscure dermatology journals. Book reviewers live in tiny studios that stink of mothballs and rotting paper. Their breath reeks of stale coffee. From time to time they put on too-tight shirts and pants with buckles and shuffle out of their lairs to shove heaping mayonnaise-laden sandwiches into their faces, which are worn in to permanent snarls. Then they go back to their computers and with fat stubby fingers they hammer out "reviews." Periodically they are halted as they burst into porcine squeals, gleefully rejoicing in their cruelty. Even when being "kindly," book reviewers reveal their true nature as condescending jerks. "We look forward to hearing more from the author," a book reviewer might say. The prissy tones sound like a second-grade piano teacher, offering you a piece of years-old strawberry hard candy and telling you to practice more. But a bad book review is just disgusting. Ask yourself: of all the jobs available to literate people, what monster chooses the job of "telling people how bad different books are"? What twisted fetishist chooses such a life?

The previous governess had used various monsters and bogeymen as a form of discipline. There was always something waiting to eat or carry off bad boys and girls for crimes like stuttering or defiantly and aggravatingly persisting in writing with their left hand. There was always a Scissor Man waiting for a little girl who sucked her thumb, always a bogeyman in the cellar. Of such bricks is the innocence of childhood constructed. Susan’s attempts at getting them to disbelieve in the things only caused the problems to get worse. Twyla had started to wet the bed. This may have been a crude form of defense against the terrible clawed creature that she was certain lived under it. Susan had found out about this one the first night, when the child had woken up crying because of a bogeyman in the closet. She’d sighed and gone to have a look. She’d been so angry that she’d pulled it out, hit it over the head with the nursery poker, dislocated its shoulder as a means of emphasis and kicked it out of the back door. The children refused to disbelieve in the monsters because, frankly, they knew damn well the things were there. But she’d found that they could, very firmly, also believe in the poker. Now she sat down on a bench and read a book. She made a point of taking the children, every day, somewhere where they could meet others of the same age. If they got the hang of the playground, she thought, adult life would hold no fears. Besides, it was nice to hear the voices of little children at play, provided you took care to be far enough away not to hear what they were actually saying. There were lessons later on. These were going a lot better now she’d got rid of the reading books about bouncy balls and dogs called Spot. She’d got Gawain on to the military campaigns of General Tacticus, which were suitably bloodthirsty but, more importantly, considered too difficult for a child. As a result his vocabulary was doubling every week and he could already use words like “disemboweled” in everyday conversation. After all, what was the point of teaching children to be children? They were naturally good at it.