Sinister Dark Quotes

For long the two enemies looked at one another, Hook shuddering slightly, and Peter with the strange smile upon his face. "So, Pan," said Hook at last, "this is all your doing." "Ay, James Hook," came the stern answer, "it is all my doing." "Proud and insolent youth," said Hook, "prepare to meet thy doom." "Dark and sinister man," Peter answered, "have at thee.

I love the night passionately. I love it as I love my country, or my mistress, with an instinctive, deep, and unshakeable love. I love it with all my senses: I love to see it, I love to breathe it in, I love to open my ears to its silence, I love my whole body to be caressed by its blackness. Skylarks sing in the sunshine, the blue sky, the warm air, in the fresh morning light. The owl flies by night, a dark shadow passing through the darkness; he hoots his sinister, quivering hoot, as though he delights in the intoxicating black immensity of space.

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

Proud and insolent youth,” said Hook, “prepare to meet thy doom.” “Dark and sinister man,” Peter answered, “have at thee.

The library possessed a life of its own, had become greater than Cornelius had ever intended. For these were not ordinary books the libraries kept. They were knowledge, given life. Wisdom, given voice. They sang when starlight streamed through the library's windows. They felt pain and suffered heartbreak. Sometimes they were sinister, grotesque- but so was the world outside. And that made the world no less worth fighting for, because wherever there was darkness, there was also so much light.

It is my sincere desire that my research and hard work will help create a world where we all learn to walk this Earth, safe, enlightened and free from the perils of cruelty, ignorance, and all the other dark and sinister forces, which make assholes possible.

When he stepped past her, a smile flickered at the edges of his lips. There was darkness at the corners, something evil just underneath the surface, sinister. He turned and grinned at her, monstrous but beatific, holding out his hand, darkness gone. Maybe she’d just imagined it. She took his hand.

Today, suddenly, I reached an absurd but unerring conclusion. In a moment of enlightenment, I realized that I'm nobody, absolutely nobody. When the lightning flashed, I saw that what I had thought to be a city was in fact a deserted plain and, in the same sinister light that revealed me to myself, there seemed to be no sky above it. I was robbed of any possibility of having existed before the world. If I was ever reincarnated, I must have done so without myself, without a self to reincarnate. I am the outskirts of some non-existent town, the long-winded prologue to an unwritten book. I'm nobody, nobody. I don't know how to feel or think or love. I'm a character in a novel as yet unwritten, hovering in the air and undone before I've even existed, amongst the dreams of someone who never quite managed to breathe life into me. I'm always thinking, always feeling, but my thoughts lack all reason, my emotions all feeling. I'm falling through a trapdoor, through infinite, infinitous space, in a directionless, empty fall. My soul is a black maelstrom, a great madness spinning about a vacuum, the swirling of a vast ocean around a hole in the void, and in the waters, more like whirlwinds than waters, float images of all I ever saw or heard in the world: houses, faces, books, boxes, snatches of music and fragments of voices, all caught up in a sinister, bottomless whirlpool. And I, I myself, am the centre that exists only because the geometry of the abyss demands it; I am the nothing around which all this spins, I exist so that it can spin, I am a centre that exists only because every circle has one. I, I myself, am the well in which the walls have fallen away to leave only viscous slime. I am the centre of everything surrounded by the great nothing. And it is as if hell itself were laughing within me but, instead of the human touch of diabolical laughter, there's the mad croak of the dead universe, the circling cadaver of physical space, the end of all worlds drifting blackly in the wind, misshapen, anachronistic, without the God who created it, without God himself who spins in the dark of darks, impossible, unique, everything. If only I could think! If only I could feel!

Uh-huh. You know with that sinister tone you should look into working for the IRS. I’m sure they’re desperate for people who can cow others with a single growl. (Susan)

The town is mobbed out with Saturday shoppers looking for Christmas bargains. You can almost breathe in the raw greed which hangs in the air like vapour. As the late afternoon darkness falls, the lights look tacky and sinister.

Yeah, weirdly, our cell doesn't have laundry facilities. So I figured I'll wash undies at one time and outerwear at another, anyways keeping some cover for the cameras. I'm not shy, but frankly, I've had my limit of men chubbing themselves to videos of me. It's moved from simple idolatry to something more sinister." She sauntered over to his desk, hopping atop it, sitting on his papers. "A little to Caged Heat, you know?

The sinister fact about literary censorship in England is that it is largely voluntary. Unpopular ideas can be silenced, and inconvenient facts kept dark, without the need for any official ban.

As the late afternoon darkness falls, the lights look tacky and sinister.

After I untangle myself from his hold, I do the one thing I should’ve done when I first saw Landon today. I run. His laughter echoes behind me like a dark, sinister promise.

He knew he tended toward gloom. It made him consider blood poisoning and heart attacks when someone else might see a touch of indigestion. Those carefully considered worst-case scenarios made him a good doctor, but they also made him feel like a dark little raincloud. When Lydia Charingford was around, though, he felt like a smiling dark little raincloud.

If our children are unable to voice what they mean, no one will know how they feel. If they can’t imagine a different world, they are stumbling through a darkness made all the more sinister by its lack of reference points. For a young person growing up in America’s alienated neighborhoods, there can be no greater empowerment than to dare to speak from the heart — and then to discover that one is not alone in ones feelings.

Rubber burned. Something sinister bore down on them. Darkness encircled the light thrown by the streetlamp. An engine roared. Tires squealed. Black metal jumped the curb.

Thank you for everything. I’d never have been able to rid myself of Delacey without you.” She leaned up and kissed his cheek. “You’re my favorite brother.” “I’m your only brother,” he said in dark amusement. “You see?” Free spread her arms. “I can’t count on any of the others to even exist when I need them.

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

But she didn't fear the moon because she was more lunar than solar and could see with wide-open eyes in the dark dawns the sinister moon in the sky. So she bathed all over in the lunar rays, as there are others who sunbathed. And was becoming profoundly limpid.

But my behavior was really the result of the illness, which had progressed far enough to produce some of its most famous and sinister hallmarks: confusion, failure of mental focus and lapse of memory.

And as for the vague something --- was it a sinister or a sorrowful, a designing or a desponding expression? --- that opened upon a careful observer, now and then, in his eye, and closed again before one could fathom the strange depth partially disclosed; that something which used to make me fear and shrink, as if I had been wandering amongst volcanic-looking hills, and had suddenly felt the ground quiver, and seen it gape: that something, I, at intervals, beheld still; and with throbbing heart, but not with palsied nerves. Instead of wishing to shun, I longed only to dare --- to divine it; and I thought Miss Ingram happy, because one day she might look into the abyss at her leisure, explore its secrets and analyse their nature.

Mr. Clark,” she repeated, looking up at him. “You are very tall.” “And you,” he said in a low voice, “you, my most maddeningly beautiful, brilliant, Free. You are perfectly sized. If you Mr. Clark me once more, I shall be forced to do something dreadful, something like kiss you in public.” Even her wildest fantasies had not had him saying something like that on arrival. She squeezed his hands and then looked up into his dark eyes. “I’m sorry, Mr. Clark,” she said. “What did you say, Mr. Clark? Mr. Clark, I fear that I have become rather hard of hearing. The noise of the press is terribly distracting. What was that you said you’d do if I called you Mr. Clark?

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

With things like this, when people don't really understand what has happened, they'll assume the worst long before they have to. It's a little like when people are afraid of the dark. Often it's not the darkness they're afraid of, it's the fact that they don't know what's in it. And because they can't see, because they're not sure, they start to imagine there are more sinister things afoot than there ordinarily would be.

Sanity: You can go through your whole life telling yourself that life is logical, life is prosaic, life is sane. Above all, sane. And I think it is. I've had a lot of time to think about that... I think; therefore I am. There are hairs on my face; therefore I shave. My wife and child have been critically injured in a car crash; therefore I pray. It's all logical, it's all sane. ...there's a Mr. Hyde for every happy Jekyll face, a dark face on the other side of the mirror... You turn the mirror sideways and see your face reflected with a sinister left-hand twist, half mad and half sane. ...No one looks at that side unless they have to, and I can understand that. ...I'm the sane one.

In the heart of darkness, a flower blossoms, enriching the shadows with its promise of hope... In the fields of light, an adder coils, and the radiant tranquility is lent savor by its sinister presence. Right and wrong, black and white, good and evil...all my existence I have looked from one to the other, fully embracing neither one...never before have I understood how much they depend on each other.

Like the vampire Lothaire, the Enemy of Old, with his white-blond hair and eerily sinister hotness.

Sinister are the thoughts that help you run from reality and forsake rationality.

Why? Who are you running from?” Jay laughs, dark and sinister, “Not running. Hunting.

Searchers after horror haunt strange, far places. For them are the catacombs of Ptolemais, and the carven mausolea of the nightmare countries. They climb to the moonlit towers of ruined Rhine castles, and falter down black cobwebbed steps beneath the scattered stones of forgotten cities in Asia. The haunted wood and the desolate mountain are their shrines, and they linger around the sinister monoliths on uninhabited islands. But the true epicure in the terrible, to whom a new thrill of unutterable ghastliness is the chief end and justification of existence, esteems most of all the ancient, lonely farmhouses of backwoods New England; for there the dark elements of strength, solitude, grotesqueness, and ignorance combine to form the perfection of the hideous.

What General Weygand called the Battle of France is over. I expect that the Battle of Britain is about to begin. Upon this battle depends the survival of Christian civilization. Upon it depends our own British life, and the long continuity of our institutions and our Empire. The whole fury and might of the enemy must very soon be turned on us. Hitler knows that he will have to break us in this Island or lose the war. If we can stand up to him, all Europe may be free and the life of the world may move forward into broad, sunlit uplands. But if we fail, then the whole world, including the United States, including all that we have known and cared for, will sink into the abyss of a new Dark Age made more sinister, and perhaps more protracted, by the lights of perverted science. Let us therefore brace ourselves to our duties, and so bear ourselves that, if the British Empire and its Commonwealth last for a thousand years, men will still say, 'This was their finest hour.

The seemingly most hateful, those on the front lines of despair, are mere instruments of sinister forces, which pull the manipulative strings of manufactured supremacy.

The darkness of the night implies nothing sinister, only that the liberation takes place in hidden ways, beneath our knowledge and understanding.

The show was over and you had a sinister feeling that out there in the darkness all over the country there were millions of kids—decoding.

I turned. Tall, Dark, and Sinister was rapidly approaching.

The day their love died, so did an unsuspecting duck.

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

I was now well prepared to be a career criminal. I had the proper training and a natural feel for the business. I had a respect for the old-liners like Angelo and Don Frederico. I had been a witness to both murder and betrayal and had my appetite whetted for acts of revenge. I just didn't have the stomach for any of it. I didn't want my life to be a lonely and sinister on, where even the closest of friends could overnight turn into an enemy who needed to be eliminated. If I went the way Angelo had paved, I would earn millions, but would never be allowed to taste the happiness and enjoyment such wealth often brings. I would rule over a dark world, a place where treachery and deceit would be at my side and never know the simple pleasures of an ordinary life. p368.

I’m both your slave and your master,” he smirks sinisterly. “I will do with you as I please. I fucking own you now. And you own me in return. You got me falling at your feet since the start, baby. And fuck, I never thought I would let myself be owned again, but now there’s nothing I want more.

I saw something moving round the foot of the bed, which at first I could not accurately distinguish. But I soon saw that it was a sooty-black animal that resembled a monstrous cat. It appeared to me about four or five feet long for it measured fully the length of the hearthrug as it passed over it; and it continued to-ing and fro-ing with the lithe, sinister restlessness of a beast in a cage. I could not cry out, although as you may suppose, I was terrified. Its pace was growing faster, and the room rapidly darker and darker, and at length so dark that I could no longer see anything of it but its eyes. I felt it spring lightly on the bed. The two broad eyes approached my face, and suddenly I felt a stinging pain as if two large needles darted, an inch or two apart, deep into my breast. I waked with a scream.

I guess that is what wounded souls do. They carefully annihilate the essence and self-worth of another, embedding seeds of their sinister darkness into them, so that with time, they create prototypes of themselves.

Kansas afternoons in late summer are peculiar and wondrous things. Often they are pregnant, if not over-ripe, with a pensive and latent energy that is utterly incapable of ever finding an adequate release for itself. This results in a palpable, almost frenetic tension that hangs in the air just below the clouds. By dusk, spread thin across the quilt-work farmlands by disparate prairie winds, this formless energy creates an abscess in the fabric of space and time that most individuals rarely take notice of. But in the soulish chambers of particularly sensitive observers, it elicits a familiar recognition—a vague remembrance—of something both dark and beautiful. Some understand it simply as an undefined tranquility tinged with despair over the loss of something now forgotten. For others, it signifies something far more sinister, and is therefore something to be feared.

A wicked smirk crosses Dari’s lips and he steps closer until his face is level with Girl’s. “Break your soul we will,” he spits, his eyes sparking and sinister. “You and your empire have no place in this world and will be wiped from living memory.

As the elderly passed away, the departed Golden Shore vanished into the smoke of history. The ship of human civilization floated alone in the vast ocean, surrounded on all sides by endless, sinister waves, and no one knew if there even was an opposite shore.

Slowly disconnecting from your community—from your family—is difficult, and while it seems like unearthing their sinister motives and dark secrets might make the process easier, it will never entirely quell the pain. I’ve been avoiding this dark ache by keeping my mind busy while my body couldn’t be, but it hasn’t gone away. The sadness is still there, lurking in the corner like a pale demon in a red polo, just waiting to finally be acknowledged. That acknowledgment could arrive after several decades, or it could happen tonight, but the time will come. Eventually, I’ll have to fully contend with this simple fact: the love I was promised is conditional.

No. When I was a girl, I wanted to be a pirate.” That brought up an all-too-pleasant image—Miss Marshall, the rich, dark red of her hair unbound and flying defiantly in the wind aboard a ship’s deck. She’d wear a loose white shirt and pantaloons. He would definitely surrender. “I am less shocked than you might imagine,” Edward heard himself say. “Entirely unshocked.” She smiled in pleasure. “A bloodthirsty cutthroat profession? Good thing you gave that up. It would never have suited you.” Her expression of pleasure dimmed. “You’d have succeeded too easily,” Edward continued, “and now you’d be sitting, bored as sin, atop a heap of gold too large to spend in one lifetime. Still, though, wouldn’t it solve ever so many problems if you married a lord? James Delacey could never touch you again if you did.

It was another of Nostromo's triumphs, the greatest, the most enviable, the most sinister of all. In that true cry of undying passion that seemed to ring aloud from Punta Mala to Azuera and away to the bright line of the horizon, overhung by a big white cloud shining like a mass of solid silver, the genius of the magnificent Capataz de Cargadores dominated the dark gulf containing his conquests of treasure and love.

the way he talked to her. It was outrageous. It was blunt. It was impossible. And it was ... precisely what she needed, the truth boned and filleted without garnish or flourish, placed in front of her for her decision. He made her wants seem ordinary instead of dark and dangerous.

Many different thoughts rise up in the darkness - like those gossamer plants that grow in the lake, oddly bewitching and pretty as they bob and sway; but enticing and sinister, they exert a dark pull as long as they're growing in the living, trickling mire. ANd yet as long as they're nothing but slimey brown clumps when the children pull them in to the boat. So many strange thoughts, both terrifying and enticing, grow in the night.

Tell me about love when you've been with someone for years, cared for them when they're ill, put up with them when they're miserable or grumpy, taken the sharp side of their tongue and still come back. Tell me about love when you've acted quite appallingly, and the other person has still accepted you.

... in an even wilder part of the river's jungle of cane and gum and pin oak, there is an Indian mound. Aboriginal, it rises profoundly and darkly enigmatic, the only elevation of any kind in the wild, flat jungle of river bottom. Even to some of us - children though we were, yet we were descended to literate, town-bred people - it possessed inferences of secret and violent blood, of savage and sudden destruction, as though the yells and hatchets we associated with Indians through the hidden and seceret dime novels which we passed among ourselves were but trivial and momentary manifestations of what dark power still dwelled or lurked there, sinister, a little sardonic, like a dark and nameless beast lightly and lazily slumbering with bloody jaws...

With his mane of thick dark hair framing his pale face as he’d purposefully stridden toward the platform, seemingly oblivious to the court's stares and whispers, he’d looked every inch a prince. And not a charming, gallant one like Elagbi, but a sinister prince who brought blood and battle and ill omens

Tilting back in his chair he framed questions for the quaking ovoid of lamplight on the ceiling to pose to him: Supposing there be any soul to listen and you died tonight? They’d listen to my death. No final word? Last words are only words. You can tell me, paradigm of your own sinister genesis construed by a flame in a glass bell. I’d say I was not unhappy. You have nothing. It may be the last shall be first. Do you believe that? No. What do you believe? I believe that the last and the first suffer equally. Pari passu. Equally? It is not alone in the dark of death that all souls are one soul. Of what would you repent? Nothing. Nothing? One thing. I spoke with bitterness about my life and I said that I would take my own part against the slander of oblivion and against the monstrous facelessness of it and that I would stand a stone in the very void where all would read my name. Of that vanity I recant all.

This is true,” Sebastian said. “The Countess of Cambury is like a deep, dark hole—secrets go in, but none of them ever come out.” “Sebastian,” Violet replied, calmly looping the yarn about one of her needles, “it is neither proper nor respectful to let a woman know that you think of her as nothing more than a hole.

To pragmatists, the letter Z is nothing more than a phonetically symbolic glyph, a minor sign easily learned, readily assimilated, and occasionally deployed in the course of a literate life. To cynics, Z is just an S with a stick up its butt. Well, true enough, any word worth repeating is greater than the sum of its parts; and the particular word-part Z can, from a certain perspective, appear anally wired. On those of us neither prosaic nor jaded, however, those whom the Fates have chosen to monitor such things, Z has had an impact above and beyond its signifying function. A presence in its own right, it’s the most distant and elusive of our twenty-six linguistic atoms; a mysterious, dark figure in an otherwise fairly innocuous lineup, and the sleekest little swimmer ever to take laps in a bowl of alphabet soup. Scarcely a day of my life has gone by when I’ve not stirred the alphabetical ant nest, yet every time I type or pen the letter Z, I still feel a secret tingle, a tiny thrill… Z is a whip crack of a letter, a striking viper of a letter, an open jackknife ever ready to cut the cords of convention or peel the peach of lust. A Z is slick, quick, arcane, eccentric, and always faintly sinister - although its very elegance separates it from the brutish X, that character traditionally associated with all forms of extinction. If X wields a tire iron, Z packs a laser gun. Zap! If X is Mike Hammer, Z is James Bond. If X marks the spot, Z avoids the spot, being too fluid, too cosmopolitan, to remain in one place. In contrast to that prim, trim, self-absorbed supermodel, I, or to O, the voluptuous, orgasmic, bighearted slut, were Z a woman, she would be a femme fatale, the consonant we love to fear and fear to love.

Nobody hurt me, Sloane. No one made me who I am. I wasn’t molested or abused, or made to perform disturbing sexual acts. You have to know that there isn’t always a sinister shadow standing over the shoulder of someone like me. We’re a rare and dark breed. I carry that bag because I like it. I cut myself while I’m fucking sometimes because I like it. I play with a knife occasionally because I like it. I do all of the things that I do to you because I like it. And you know what, angry girl? The thing that disturbs you the most…” My breath catches in my throat. I can hardly fucking breathe. Zeth’s tongue carefully flicks out, teasing my upper lip just once. I close my eyes as his words hit home, words that are whispered yet more powerful than a shout. “…is that you like it, too. You’re just like me, Sloane. You’re just like me.

I have imagined him in my mind for so long, my imagination creating a monster of grotesque features and proportions. But standing before me, his head tilted and eyes sharp, is just a man. Slightly balding, twenty pounds too heavy, whose mouth is turning into a sneer. Whose eyes are narrowing, stance strong, the combined effect sinister. This man, this balding thick man, has whispered in my ear, poured out the disgusting thoughts in his soul, showed me the dark evil in his heart. And now he is stepping closer, the excitement radiating from his body like a foul smell. He thinks I am weak. He thinks he can manipulate me and subdue me. Kill me. He has no idea that my small frame and delicate features contain an evil that rivals his own. I finger the knife in my pocket and fight to keep a grin off my face. This is it. This is my time.

Spring had come early that year, with warm quick rains and sudden frothing of pink peach blossoms and dogwood dappling with white stars the dark river swamp and far-off hills. Already the plowing was nearly finished, and the bloody glory of the sunset colored the fresh-cut furrows of red Georgia clay to even redder hues. The moist hungry earth, waiting upturned for the cotton seeds, showed pinkish on the sandy tops of furrows, vermilion and scarlet and maroon where shadows lay along the sides of the trenches. The whitewashed brick plantation house seemed an island set in a wild red sea, a sea of spiraling, curving, crescent billows petrified suddenly at the moment when the pink-tipped waves were breaking into surf. For here were no long, straight furrows, such as could be seen in the yellow clay fields of the flat middle Georgia country or in the lush black earth of the coastal plantations. The rolling foothill country of north Georgia was plowed in a million curves to keep the rich earth from washing down into the river bottoms. It was a savagely red land, blood-colored after rains, brick dust in droughts, the best cotton land in the world. It was a pleasant land of white houses, peaceful plowed fields and sluggish yellow rivers, but a land of contrasts, of brightest sun glare and densest shade. The plantation clearings and miles of cotton fields smiled up to a warm sun, placid, complacent. At their edges rose the virgin forests, dark and cool even in the hottest noons, mysterious, a little sinister, the soughing pines seeming to wait with an age-old patience, to threaten with soft sighs: "Be careful! Be careful! We had you once. We can take you back again.

Vidal had his exuberant and stately tower in the most elegant and elevated part of Pedralbes, surrounded by hills, trees, and fairy-tale skies. I would have my sinister tower rising above the oldest, darkest streets of the city, surrounded by the miasmas and the shadows of that necropolis which poets and murderers had once called the "Rose of Fire.

In the heart of our deepest fears and the shadowed corners of our darkest nightmares, there I weave my tales. Embracing the chill of horror, the whisper of the paranormal, and the dread of the dystopian, I create worlds where the sinister reigns supreme, where not every ending is happy, and yet, hope persists, a defiant ember in the engulfing darkness.

The fetishisation of the sexuality of black people comes from centuries of dirty dark shade. It starts with sleazy old jokes that black men have huge cocks, or that black women are hyper-sexual, and it festers to become something toxic and sinister. This continues now, mostly unquestioned, with the sexual objectification of women, rounded fat bottoms and full lips all across the media industry. But once the canned laughter dies down or the fashion shoot is done and dusted, and you stop and take a cold hard look at the root history of these jokes and stereotypes, it all comes from a shade so bleak and so ignorant, that it has a sub-human subtext to it –brown people for sale in a human pet shop window.

I was condemned to be burnt myself recently, or my books were. An article in the _Catholic Herald_ said that my _His Dark Materials_ was "far more worthy of the bonfire than Harry [Potter]"; it was "a million times more sinister." Naturally, I'm very proud of this distinction, and I asked the publishers to print it in the paperback of _The Subtle Knife_.

It’s the small things in life we’re meant to enjoy, but we fail at so many of them.

Her kiss didn’t sweep away the dark anguish he felt in his heart. Instead, it embraced it. It acknowledged it.

The castle loomed ahead as I crested the rise of a dune. Even with the sun shining upon it, the stone walls were dark and begged me to ask what sinister secrets lay hidden in the shadows.

The downtown local pulled in, its four yellow lights suggesting the feelers of some great dashing worm. Jane stood at the very rear of the train, and absently watched the tunnel lights. With a spurt, yellow meteors jumped up and arranged themselves in a row behind, one end of it growing, the other fading away in the tunnel. Sometimes a blue one flew into the row. Once the red eyes of an express train behind loomed up, a monster roaring past out of the dark. It was sinister but impersonal. It didn’t care in the least whether or not Jane liked civilization. It was civilization.

For these were not ordinary books the libraries kept. They were knowledge, given life. Wisdom, given voice. They sang when starlight streamed through the library’s windows. They felt pain and suffered heartbreak. Sometimes they were sinister, grotesque—but so was the world outside. And that made the world no less worth fighting for, because wherever there was darkness, there was also so much light.

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

One can cause only so much damage to a person’s psyche and body until they finally snap. He just didn’t know what was hiding inside me. Something sinister, something dark, waiting to come out. It invades my thoughts, consumes them.

According to your proclivities, you may take a snow-clad Alpine peak, as it rises to the empyrean in radiant majesty, as symbol of man's aspiration to union with the Infinite; or since, if you like to believe that, a mountain range may be thrown up by some violent convulsion in the earth's depths, you may take it as a symbol of the dark and sinister passions of man that lour to destroy him; or, if you want to be in the fashion, you may take it as a phallic symbol.

The Desire To Paint" Unhappy perhaps is the man, but happy the artist, who is torn with this desire. I burn to paint a certain woman who has appeared to me so rarely, and so swiftly fled away, like some beautiful, regrettable thing the traveller must leave behind him in the night. It is already long since I saw her. She is beautiful, and more than beautiful: she is overpowering. The colour black preponderates in her; all that she inspires is nocturnal and profound. Her eyes are two caverns where mystery vaguely stirs and gleams; her glance illuminates like a ray of light; it is an explosion in the darkness. I would compare her to a black sun if one could conceive of a dark star overthrowing light and happiness. But it is the moon that she makes one dream of most readily; the moon, who has without doubt touched her with her own influence; not the white moon of the idylls, who resembles a cold bride, but the sinister and intoxicating moon suspended in the depths of a stormy night, among the driven clouds; not the discreet peaceful moon who visits the dreams of pure men, but the moon torn from the sky, conquered and revolted, that the witches of Thessaly hardly constrain to dance upon the terrified grass. Her small brow is the habitation of a tenacious will and the love of prey. And below this inquiet face, whose mobile nostrils breathe in the unknown and the impossible, glitters, with an unspeakable grace, the smile of a large mouth ; white, red, and delicious; a mouth that makes one dream of the miracle of some superb flower unclosing in a volcanic land. There are women who inspire one with the desire to woo them and win them; but she makes one wish to die slowly beneath her steady gaze.

Behind my office, to the south-east, was Police Headquarters, and I imagined all the good hard work that was being done there to crack down on Berlin's crime. Villainies like speaking disrespectfully of the Führer, displaying a 'Sold Out' sign in your butcher's shop window, not giving the Hitler Salute, and homosexuality. That was Berlin under the National Socialist Government: a big, haunted house with dark corners, gloomy staircases, sinister cellars, locked rooms and a whole attic full of poltergeists on the loose, throwing books, banging doors, breaking glass, shouting in the night and generally scaring the owners so badly that there were times when they were ready to sell up and get out. But most of the time they just stopped up their ears, covered their blackened eyes and tried to pretend that there was nothing wrong. Cowed with fear, they spoke very little, ignoring the carpet moving underneath their feet, and their laughter was the thin, nervous kind that always accompanies the boss's little joke.

During my first few months of Facebooking, I discovered that my page had fostered a collective nostalgia for specific cultural icons. These started, unsurprisingly, within the realm of science fiction and fantasy. They commonly included a pointy-eared Vulcan from a certain groundbreaking 1960s television show. Just as often, though, I found myself sharing images of a diminutive, ancient, green and disarmingly wise Jedi Master who speaks in flip-side down English. Or, if feeling more sinister, I’d post pictures of his black-cloaked, dark-sided, heavy-breathing nemesis. As an aside, I initially received from Star Trek fans considerable “push-back,” or at least many raised Spock brows, when I began sharing images of Yoda and Darth Vader. To the purists, this bordered on sacrilege.. But as I like to remind fans, I was the only actor to work within both franchises, having also voiced the part of Lok Durd from the animated show Star Wars: The Clone Wars. It was the virality of these early posts, shared by thousands of fans without any prodding from me, that got me thinking. Why do we love Spock, Yoda and Darth Vader so much? And what is it about characters like these that causes fans to click “like” and “share” so readily? One thing was clear: Cultural icons help people define who they are today because they shaped who they were as children. We all “like” Yoda because we all loved The Empire Strikes Back, probably watched it many times, and can recite our favorite lines. Indeed, we all can quote Yoda, and we all have tried out our best impression of him. When someone posts a meme of Yoda, many immediately share it, not just because they think it is funny (though it usually is — it’s hard to go wrong with the Master), but because it says something about the sharer. It’s shorthand for saying, “This little guy made a huge impact on me, not sure what it is, but for certain a huge impact. Did it make one on you, too? I’m clicking ‘share’ to affirm something you may not know about me. I ‘like’ Yoda.” And isn’t that what sharing on Facebook is all about? It’s not simply that the sharer wants you to snortle or “LOL” as it were. That’s part of it, but not the core. At its core is a statement about one’s belief system, one that includes the wisdom of Yoda. Other eminently shareable icons included beloved Tolkien characters, particularly Gandalf (as played by the inimitable Sir Ian McKellan). Gandalf, like Yoda, is somehow always above reproach and unfailingly epic. Like Yoda, Gandalf has his darker counterpart. Gollum is a fan favorite because he is a fallen figure who could reform with the right guidance. It doesn’t hurt that his every meme is invariably read in his distinctive, blood-curdling rasp. Then there’s also Batman, who seems to have survived both Adam West and Christian Bale, but whose questionable relationship to the Boy Wonder left plenty of room for hilarious homoerotic undertones. But seriously, there is something about the brooding, misunderstood and “chaotic-good” nature of this superhero that touches all of our hearts.

The Second Koran tells us that the darkness in ourselves is a sinister thing. It waits until we relax, it waits until we reach the most vulnerable moments, and then it snares us. I want to be dutiful. I want to do what I should. But when I go back to the tube, I think of where I am going; to that small house and my empty room. What will I do tonight? Make more paper flowers, more wreaths? I am sick of them. Sick of the Nekropolis. I can take the tube to my mistress' house, or I can go by the street where Mardin's house is. I'm tired. I'm ready to go to my little room and relax. Oh, Holy One, I dread the empty evening. Maybe I should go by the street just to fill up time. I have all this empty time in front of me. Tonight and tomorrow and the week after and the next month and all down through the years as I never marry and become a dried-up woman. Evenings spent folding paper. Days cleaning someone else's house. Free afternoons spent shopping a bit, stopping in tea shops because my feet hurt. That is what lives are, aren't they? Attempts to fill our time with activity designed to prevent us from realizing that there is no meaning?

…It was this white garment of mourning which he still wore, the white mourning of surgical gowns so much more significant than black, since white is the colour of obliteration whereas black, far from being the colour of emptiness and nothingness, is much more the active shade which makes the deep and therefore dark substance of all things stand out, from the flight of despair whose magical blackness animates the blank parchment of the soul, to the supposedly sinister flight of the raven, whose croakings and cadaverous meals are but the joyful signs of physical metamorphoses, black as congelead blood or charred wood, but much less lugubrious than the deathly restfulness of white. Yet this desert whiteness did not rule out all subsequent possibilities, when it too would coagulate to form directions in blood and when it too would know the three congruences of putrefaction.

If I’ve learned anything, it's that we know next to nothing. Disease is a mystery. Health is inscrutable. The body itself is scarcely understood; we can only examine the secrets of the dead. And in all that dark ignorance, we're sometimes granted a rare moment of illumination. The truth is a gift.

The library no more belonged to Ashcroft and his plot than Elizabeth belonged to the unknown parents who had brought her into this world. It possessed a life of its own, had become something greater than Cornelius had ever intended. For these were not ordinary books the libraries kept. They were knowledge, given life. Wisdom, given voice. They sang when starlight streamed through the library's windows. They felt pain and suffered heartbreak. Sometimes they were sinister, grotesque-but so was the world outside. And that made the world no less worth fighting for, because wherever there was darkness, there was also so much light.

He would return in half an hour—or in less.  He walked away and I sat there alone, conscious, on the dark dismantled simplified scene, in the deep silence that rests on American towns during the hot season—there was now and then a far cry or a plash in the water, and at intervals the tinkle of the bells of the horse-cars on the long bridge, slow in the suffocating night—of the strange influence, half-sweet, half-sad, that abides in houses uninhabited or about to become so, in places muffled and bereaved, where the unheeded sofas and patient belittered tables seem (like the disconcerted dogs, to whom everything is alike sinister) to recognise the eve of a journey.

In the midst of them, the blackest and largest in that dark setting, reclined James Hook, or as he wrote himself, Jas. Hook, of whom it is said he was the only man that the Sea-Cook feared. He lay at his ease in a rough chariot drawn and propelled by his men, and instead of a right hand he had the iron hook with which ever and anon he encouraged them to increase their pace. As dogs this terrible man treated and addressed them, and as dogs they obeyed him. In person he was cadaverous [dead looking] and blackavized, and his hair was dressed in long curls, which at a little distance looked like black candles, and gave a singularly threatening expression to his handsome countenance. His eyes were of the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly. In manner, something of the grand seigneur still clung to him, so that he even ripped you up with an air, and I have been told that he was a raconteur of repute. He was never more sinister than when he was most polite, which is probably the truest test of breeding; and the elegance of his diction, even when he was swearing, no less than the distinction of his demeanour, showed him one of a different cast from his crew. A man of indomitable courage, it was said that the only thing he shied at was the sight of his own blood, which was thick and of an unusual colour. In dress he somewhat aped the attire associated with the name of Charles II, having heard it said in some earlier period of his career that he bore a strange resemblance to the ill-fated Stuarts; and in his mouth he had a holder of his own contrivance which enabled him to smoke two cigars at once. But undoubtedly the grimmest part of him was his iron claw.

As happens in dreams, when a perfectly harmless object inspires us with fear and thereafter is frightening every time we dream of it (and even in real life retains disquieting overtones), so Dreyer's presence became for Franz a refined torture, an implacable menace. [ ... H]e could not help cringing when, with a banging of doors in a dramatic draft, Martha and Dreyer entered simultaneously from two different rooms as if on a too harshly lit stage. Then he snapped to attention and in this attitude felt himself ascending through the ceiling, through the roof, into the black-brown sky, while, in reality, drained and empty, he was shaking hands with Martha, with Dreyer. He dropped back on his feet out of that dark nonexistence, from those unknown and rather silly heights, to land firmly in the middle of the room (safe, safe!) when hearty Dreyer described a circle with his index finger and jabbed him in the navel; Franz mimicked a gasp and giggled; and as usual Martha was coldly radiant. His fear did not pass but only subsided temporarily: one incautious glance, one eloquent smile, and all would be revealed, and a disaster beyond imagination would shatter his career. Thereafter whenever he entered this house, he imagined that the disaster had happened—that Martha had been found out, or had confessed everything in a fit of insanity or religious self-immolation to her husband; and the drawing room chandelier invariably met him with a sinister refulgence.

Wuthering Heights was hewn in a wild workshop, with simple tools, out of homely materials. The statuary found a granite block on a solitary moor: gazing thereon, he saw how from the crag might be elicited a head, savage, swart, sinister; a form moulded with at least one element of grandeur - power. He wrought with a rude chisel, and from no model but the vision of his meditations. With time and labour, the crag took human shape; and there it stands colossal, dark and frowning, half statue, half rock: in the former sense, terrible and goblin-like; in the latter, almost beautiful, for its colouring is of mellow grey, and moorland moss clothes it; and heath with its blooming bells and balmy flagrance, grown faithfully close to the giant's foot.

Two measly kisses: they uncovered that I was incapable of earning my way religiously, that I couldn't achieve or even want goodness, that my heart at its core was sinister and dark and confused. They opened up a chance for me to fail myself and to fail God big, and thus they put me face-to-face with the gospel of grace--a grace that up till then I had never known or experienced.

It was night. There was a drizzle, so Emily's black Japanese umbrella was up. The two were close beneath it, walking in long strides, beautiful, sinister-looking lovers, narrow squared shoulders in dark coats. A tall pickup truck sped by and a was a phlem struck the edge of the pavement near where they were walking. Emily raised a finger, cocked her thumb, and said, "Bang." "Got the left rear tire." said Anthony. "The truck rolled," she added, "and burst into flames." "He's still alive," said Anthony, "climbing out of the broken rear window, his hair and clothes ablaze, screaming for help." "Punky boys come and piss on him," said Emily. The discussion was very quiet, very earnest. "They put out the fire from his burning body," said Anthony, "but he dies later in the burn ward." "His family is relieved and happy," said Emily with stunning finality. Twenty-four hours later the spitting driver dies on a suburban highway near his home, his pickup spinning out of control on black ice, the vehicle exploding into flame. Anthony and Emily never know about it, never guess a connection to their curse, having never thought of him a second time.

Nothing is easier than to be original thanks to a false absolute, all the more so when this absolute is negative, for to destroy is easier than to construct. Humanism is the reign of horizontality, either naive or perfidious; and since it is also — and by that very fact — the negation of the Absolute, it is a door open to a multitude of sham absolutes, which in addition are often negative, subversive, and destructive. It is not too difficult to be original with such intentions and such means; all one needs is a little imagination. It should be noted that subversion includes not only philosophical and moral schemes designed to undermine the normal order of things, but also — in literature and on a seemingly harmless plane — all that can satisfy an unhealthy curiosity: namely all the narrations that are fantastic, grotesque, lugubrious, "dark," thus satanic in their way, and well-fitted to predispose men to all excesses and all perversions; this is the sinister side of romanticism. Without fearing in the least to be "childlike" or caring in the least to be "adult," we readily dispense with these somber lunacies, and are fully satisfied with Snow White and Sleeping Beauty.

The dark is a terrible and malicious nemesis. Sounds are enhanced in it, making every groan and shout seem as if it were coming from right next to you. Light is swallowed by it, leaving you encased in a dim halo that seems a thin barrier against it. Objects that you pass by every day become terrifying, looming up unexpectedly with sinister intent, and creating shadows in which the enemy could hide.

But I would not say a word until I could set aside all I know or believe about nations, war, leaders, the governed and the ungovernable; all I suspect about armor and entrails. First I would freshen my tongue, abandon sentences crafted to know evil--wanton or studied; explosive or quietly sinister; whether born of a sated appetite or hunger; of vengeance or the simple compulsion to stand up before falling down. I would purge my language of hyperbole, of its eagerness to analyze the levels of wickedness; ranking them, calculating their higher or lower status among others of its kind. Speaking to the broken and the dead is too difficult for a mouth full of blood. Too holy an act for impure thoughts. ... I must be steady and I must be clear, knowing all the time that I have nothing to say--no words stronger than steel that pressed you into itself; no scripture older or more elegant than the ancient atoms you have become. And I have nothing to give either--except this gesture, this thread thrown between your humanity and mine: I want to hold you in my arms and as your soul got shot out of its box of flesh to understand as you have done, the wit of eternity; it's gift of unhinged release through the darkness of its knell.

On a few occasions in his own books, Thomas [Mann] thought, he had risen above the ordinary world from which the work emerged. The death of Hanno in -Buddenbrooks-, for example, or the quality of the desire described in -Death in Venice-, or the séance scenes in -The Magic Mountain.- Maybe in other parts of other books too. But he did not think so.He had let dry humor and social settings dominate his writing; he was afraid of what might take over if he did not exercise caution and control. He could imagine decency, but that was hardly a virtue in a time that had grown sinister. He could imagine humanism, but that made no difference in a time that exalted the will of the crowd. He could imagine a frail intelligence, but that meant little in a time that honored brute strength. As the slow movement [of Beethoven's String Quartet, op. 132] came gravely to an end, he realized that, if he could summon the courage, he would have to entertain evil in a book, he would have to open the door to what was darkly outside his own comprehension.

I slide to the floor. I feel something warm on my neck, and under my cheek. Red. Blood is a strange color. Dark. From the corner of my eye, I see David slumped over in his chair. And my mother walking out from behind him. She is dressed in the same clothes she wore the last time I saw her, Abnegation gray, stained with her blood, with bare arms to show her tattoo. There are still bullet holes in her shirt; through them I can see her wounded skin, red but no longer bleeding, like she’s frozen in time. Her dull blond hair is tied back in a knot, but a few loose strands frame her face in gold. I know she can’t be alive, but I don’t know if I’m seeing her now because I’m delirious from the blood loss of if the death serum has addled my thoughts or if she is here in some other way. She kneels next to me and touches a cool hand to my cheek. “Hello, Beatrice,” she says, and she smiles. “Am I done yet?” I say, and I’m not sure if I actually say it or if I just think it and she hears it. “Yes,” she says, her eyes bright with tears. “My dear child, you’ve done so well.” “What about the others?” I choke on a sob as the image of Tobias comes into my mind, of how dark and how still his eyes were, how strong and warm his hand was, when we first stood face-to-face. “Tobias, Caleb, my friends?” “They’ll care for each other,” she says. “That’s what people do.” I smile and close my eyes. I feel a thread tugging me again, but this time I know that it isn’t some sinister force dragging me toward death. This time I know it’s my mother’s hand, drawing me into her arms. And I go gladly into her embrace. Can I be forgiven for all I’ve done to get here? I want to be. I can. I believe it.

Stupendous carnage was painted on the canvas, A depiction of repulsion was executed around the structure. It revealed its dark emblem by painting its sinister Red. Three intertwined bloated eyes are encrusted together, awfully deformed - the horrendous stench of decay can be smelt from it, for it exudes a sulfurous aroma of rotting animals. A torn torso of a butchered rabbit laid on the eye sockets, with all its arms, legs, and head severed off. A sludge-like, bubbling, dripping fluid oozed from the abnormally large eyes, leaving the ground deserted to rust and becoming the midst of a terrible famine. Blood Gushes from the slashes of each hideous eye, gouging out gore from the torn skin, spluttering and erupting gasping cries as it struggles in its own twisted misery of giving birth, as it was preparing to give shape-shifting life to a black-glass body, horn-like entity, unlike any childbirth you have ever witnessed. Satanic was this creature, whose muscle mass was disintegrated. All of his blood was squeezed out, forlorn and cold to the touch. The thorns on his head were intertwined into horns. A serpent's nose and wolf-like fangs were all this child had, as he had no gift of sight or hearing, he had only the smell of terror as his power.

What do we have here?” Grant slurs at me. He seems different and it raises flags in my mind. His fingers wrap around a section of my hair and it scares me. His face is flushed red and his eyes are glassy and bright. I can smell the smoky scent of whiskey or scotch rolling off his tongue as he speaks and breathes heavily. “I’m lost and I need a ride home.” My voice wavers as I speak and I hate it. I fist my hands in the hem of my blazer. “I’ll get Albert for you, but first spend some time with me,” he slurs again, sounding like his tongue is too large for his mouth. As if sensing my attention, the tip of his tongue sneaks out and slides along his supple bottom lip. He smiles as he tastes the alcohol that’s staining his mouth. His eyes are bright and shiny and glazed over. He has a smirk on his face that shows off his dimple. It no longer reminds me of Whitt. It seems sinister and dangerous- promising something I’m not ready to experience. The feel of his fingers playing with my hair gives me goosebumps and I shiver as my scalp tightens, sucking up the pleasant attention. I do my first stupid-girl moment of my life. I shameless crush on a guy and let it turn my thoughts to mush. “Okay, if you promise to call Albert first.” I try to negotiate with him and he gives me a naughty smirk for agreeing. He backs me up with his physical presence. His front touches mine- chest-to-chest. His lips part and breathes the smoky, whiskey scent onto my chin. My back hits the door behind me with an audible thump. He reaches around me and I don’t wince. I anticipate him touching me and crave it. Instead, his hand twists the doorknob by my hip and I fall backwards. I’m pushed into a dark room until my legs connect with the edge of a bed. I can’t see anything, and the only sound is our combined breathing. I feel alive with caution. I’m aware of every hair, every nerve on my flesh. My senses are so in-tuned that I can feel my system pumping the blood through my veins nourishing my whole body.

You must know something.” “And why is Archer Cross here?” That was from Jenna. His voice had apparently changed over the summer, since he actually said the words instead of squeaking them. “He’s an Eye.” “Didn’t he try to kill you?” Nausicaa had drifted up, and she narrowed her eyes at me. “And if so, why exactly were you holding his hand earlier?” Conversations like this usually ended in pitchforks and torches, so I held my hands out in what I hoped was an “everyone just calm the heck down” gesture. But then Jenna spoke up. “Sophie doesn’t know anything,” she said, nudging my behind her. That might’ve been more effective if Jenna weren’t so short. “And whatever reason we’re here, the Council had nothing to do with it.” Jenna didn’t add that that was because the entire Council, with the exception of Lara Casnoff and my dad, was dead. “She’s just freaked out as the rest of us, so back. Off.” From the expressions on the other kids’ faces, I guessed Jenna had bared her fangs, and maybe even given a flash of red eyes. “What’s going on here?” a familiar voice brayed. Great. Like this night didn’t suck out loud enough already. The Vandy-who had been a cross between school matron and prison guard at Hex Hall-shoved her way through the crowd, breathing hard. Her purple tattoos, marks of the Removal, were nearly black against her red face. “Downstairs, now!” As the group began moving again, she glared at Jenna and me. “Show your fangs again, Miss Talbot, and I’ll wear them as earrings. Is that understood?” Jenna may have muttered, “Yes, ma’am,” but her tone said something totally different. We jogged down the stairs to join the rest of the students lining up to go into the ballroom. “At least one thing at Hex Hall hasn’t changed,” Jenna said. “Yeah, apparently the Vandy’s powers of bitchery are a constant. I find that comforting.” Less comforting was the creeptasticness of the school at night. During the day, it had just been depressing. Now that it was dark, it was full-on sinister. The old-fashioned gas lamps on the walls had once burned with a cozy, golden light. Now, a noxious green glow sputtered inside the milky glass, throwing crazy shadows all over the place.

Putting the Other Person Down The manipulator has other options available to help them reach their ultimate goal. One tactic that can be quite effective consists in putting their target down on a regular basis. However, this isn’t done through insults or threats. This covert technique is very useful because the manipulator uses it in a very subtle manner. This can be seen in the abundant use of sarcasm or perhaps passive-aggressive attacks. For example, the manipulator may say, “don’t we look lovely today” when it is clear that the victim is not at their best. A passive-aggressive approach might be something like, “I’m just going to have to take you in for a good scrubbing and a haircut.” It might say in a playful tone, but the subtext is far more sinister. As for the target, they may not realize that they are the subject of manipulation. They may feel terrible as a result of the interaction, but may not realize that they are being deliberately acted upon by the manipulator. Consequently, the target is left to wonder is what the motives might be for being treated in such a manner. Honestly, it doesn’t really matter, at least not to the manipulator. What does matter is that the target is left feeling vulnerable and exposed. This is where the manipulator can make the most of their efforts. When a victim is left feeling defenseless, the manipulator is in a prime position to take advantage ([27]). On the contrary, if a person feels safe and empowered, the likelihood of them being manipulated is quite low. That’s why manipulators prey upon people with low self-esteem. If a person has high self-esteem, then they won’t be easily manipulated. If anything, put-downs and insults will spark a defensive reaction. That would leave the manipulator with no choice but to move on to the next victim.

Linda's black figure detached itself upright on the light of the lantern with her arms raised above her head as though she were going to throw herself over. "It is I who loved you," she whispered, with a face as set and white as marble in the moonlight. "I! Only I! She will forget thee, killed miserably for her pretty face. I cannot understand. I cannot understand. But I shall never forget thee. Never!" She stood silent and still, collecting her strength to throw all her fidelity, her pain, bewilderment, and despair into one great cry. "Never! Gian' Battista!" Dr. Monygham, pulling round in the police-galley, heard the name pass over his head. It was another of Nostromo's triumphs, the greatest, the most enviable, the most sinister of all. In that true cry of undying passion that seemed to ring aloud from Punta Mala to Azuera and away to the bright line of the horizon, overhung by a big white cloud shining like a mass of solid silver, the genius of the magnificent Capataz de Cargadores dominated the dark gulf containing his conquests of treasure and love.

But it is just as useless for a man to want first of all to decide the externals and after that the fundamentals as it is for a cosmic body, thinking to form itself, first of all to decide the nature of its surface, to what bodies it should turn its light, to which its dark side, without first letting the harmony of centrifugal and centripetal forces realize [*realisere*] its existence [*Existents*] and letting the rest come of itself. One must learn first to know himself before knowing anything else (γνῶθι σε αυτόν). Not until a man has inwardly understood himself and then sees the course he is to take does his life gain peace and meaning; only then is he free of the irksome, sinister traveling companion―that irony of life which manifests itself in the sphere of knowledge and invites true knowing to begin with a not-knowing (Socrates), just as God created the world from nothing. But in the waters of morality it is especially at home to those who still have not entered the tradewinds of virtue. Here it tumbles a person about in a horrible way, for a time lets him feel happy and content in his resolve to go ahead along the right path, then hurls him into the abyss of despair. Often it lulls a man to sleep with the thought, "After all, things cannot be otherwise," only to awaken him suddenly to a rigorous interrogation. Frequently it seems to let a veil of forgetfulness fall over the past, only to make every single trifle appear in a strong light again. When he struggles along the right path, rejoicing in having overcome temptation's power, there may come at almost the same time, right on the heels of perfect victory, an apparently insignificant external circumstance which pushes him down, like Sisyphus, from the height of the crag. Often when a person has concentrated on something, a minor external circumstance arises which destroys everything. (As in the case of a man who, weary of life, is about to throw himself into the Thames and at the crucial moment is halted by the sting of a mosquito). Frequently a person feels his very best when the illness is the worst, as in tuberculosis. In vain he tries to resist it but he has not sufficient strength, and it is no help to him that he has gone through the same thing many times; the kind of practice acquired in this way does not apply here. Just as no one who has been taught a great deal about swimming is able to keep afloat in a storm, but only the man who is intensely convinced and has experiences that he is actually lighter than water, so a person who lacks this inward point of poise is unable to keep afloat in life's storms.―Only when a man has understood himself in this way is he able to maintain an independent existence and thus avoid surrendering his own I. How often we see (in a period when we extol that Greek historian because he knows how to appropriate an unfamiliar style so delusively like the original author's, instead of censuring him, since the first prize always goes to an author for having his own style―that is, a mode of expression and presentation qualified by his own individuality)―how often we see people who either out of mental-spiritual laziness live on the crumbs that fall from another's table or for more egotistical reasons seek to identify themselves with others, until eventually they believe it all, just like the liar through frequent repetition of his stories.

Look, Skipper,” he whispered. “Do you see—they’re not eating it. They don’t even have any mouths. They’re simply chopping it to pieces. That’s exactly what happened to Dragonfly.” “You’re right. They’re dismantling it… like… like a broken machine.” Norton wrinkled his nose. “But no dead machine ever smelled like that.” Then another thought struck him. “My God—suppose they start on us! Ruby, get us back to shore as quickly as you can!” Resolution surged forward with reckless disregard for the life of her power cells. Behind them, the nine spokes of the great starfish—they could think of no better name for it—were clipped steadily shorter, and presently the weird tableau sank back into the depths of the sea. There was no pursuit, but they did not breathe comfortably again until Resolution had drawn up to the landing stage and they had stepped thankfully ashore. As he looked back across that mysterious and now sinister band of water, Norton grimly determined that no one would ever sail it again. There were too many unknowns, too many dangers. He looked back upon the towers and ramparts of New York and the dark cliff of the continent beyond. They

Heart of Darkness also received a certain amount of notice from the first; and of its origins this much may be said: it is well known that curious men go prying into all sorts of places (where they have no business) and come out of them with all kinds of spoil. This story, and one other, not in this volume, are all the spoil I brought out from the centre of Africa, where, really, I had no sort of business. More ambitious in its scope and longer in the telling, Heart of Darkness is quite as authentic in fundamentals as Youth. It is, obviously, written in another mood. I won’t characterize the mood precisely, but anybody can see that it is anything but the mood of wistful regret, of reminiscent tenderness. One more remark may be added. Youth is a feat of memory. It is a record of experience; but that experience, in its facts, in its inwardness and in its outward colouring, begins and ends in myself. Heart of Darkness is experience, too; but it is experience pushed a little (and only very little) beyond the actual facts of the case for the perfectly legitimate, I believe, purpose of bringing it home to the minds and bosoms of the readers. There it was no longer a matter of sincere colouring. It was like another art altogether. That sombre theme had to be given a sinister resonance, a tonality of its own, a continued vibration that, I hoped, would hang in the air and dwell on the ear after the last note had been struck.

Television’s greatest appeal is that it is engaging without being at all demanding. One can rest while undergoing stimulation. Receive without giving. It’s the same in all low art that has as goal continued attention and patronage: it’s appealing precisely because it’s at once fun and easy. And the entrenchment of a culture built on Appeal helps explain a dark and curious thing: at a time when there are more decent and good and very good serious fiction writers at work in America than ever before, an American public enjoying unprecedented literacy and disposable income spends the vast bulk of its reading time and book dollar on fiction that is, by any fair standard, trash. Trash fiction is, by design and appeal, most like televised narrative: engaging without being demanding. But trash, in terms of both quality and popularity, is a much more sinister phenomenon. For while television has from its beginnings been openly motivated by — has been about—considerations of mass appeal and L.C.D. and profit, our own history is chock-full of evidence that readers and societies may properly expect important, lasting contributions from a narrative art that understands itself as being about considerations more important than popularity and balance sheets. Entertainers can divert and engage and maybe even console; only artists can transfigure. Today’s trash writers are entertainers working artists’ turf. This in itself is nothing new. But television aesthetics, and television-like economics, have clearly made their unprecedented popularity and reward possible. And there seems to me to be a real danger that not only the forms but the norms of televised art will begin to supplant the standards of all narrative art. This would be a disaster. [...] Even the snottiest young artiste, of course, probably isn’t going to bear personal ill will toward writers of trash; just as, while everybody agrees that prostitution is a bad thing for everyone involved, few are apt to blame prostitutes themselves, or wish them harm. If this seems like a non sequitur, I’m going to claim the analogy is all too apt. A prostitute is someone who, in exchange for money, affords someone else the form and sensation of sexual intimacy without any of the complex emotions or responsibilities that make intimacy between two people a valuable or meaningful human enterprise. The prostitute “gives,” but — demanding nothing of comparable value in return — perverts the giving, helps render what is supposed to be a revelation a transaction. The writer of trash fiction, often with admirable craft, affords his customer a narrative structure and movement, and content that engages the reader — titillates, repulses, excites, transports him — without demanding of him any of the intellectual or spiritual or artistic responses that render verbal intercourse between writer and reader an important or even real activity." - from "Fictional Futures and the Conspicuously Young

In the midst of them, the blackest and largest in that dark setting, reclined James Hook, or as he wrote himself, Jas. Hook, of whom it is said he was the only man that the Sea-Cook feared. He lay at his ease in a rough chariot drawn and propelled by his men, and instead of a right hand he had the iron hook with which ever and anon he encouraged them to increase their pace. As dogs this terrible man treated and addressed them, and as dogs they obeyed him. In person he was cadaverous and blackavized, and his hair was dressed in long curls, which at a little distance looked like black candles, and gave a singularly threatening expression to his handsome countenance. His eyes were of the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly. In manner, something of the grand seigneur still clung to him, so that he even ripped you up with an air, and I have been told that he was a raconteur of repute. He was never more sinister than when he was most polite, which is probably the truest test of breeding; and the elegance of his diction, even when he was swearing, no less than the distinction of his demeanour, showed him one of a different cast from his crew. A man of indomitable courage, it was said that the only thing he shied at was the sight of his own blood, which was thick and of an unusual colour. In dress he somewhat aped the attire associated with the name of Charles II, having heard it said in some earlier period of his career that he bore a strange resemblance to the ill-fated Stuarts; and in his mouth he had a holder of his own contrivance which enabled him to smoke two cigars at once.

The masses of dense foliage all round became prison walls, impassable circular green ice-walls, surging towards her; just before they closed in, I caught the terrified glint of her eyes. On a winter day she was in the studio, posing for him in the nude, her arms raised in a graceful position. To hold it for any length of time must have been a strain, I wondered how she managed to keep so still; until I saw the cords attached to her wrists and ankles. Instead of the darkness, she faced a stupendous sky-conflagration, an incredible glacial dream-scene. Cold coruscations of rainbow fire pulsed overhead, shot through by shafts of pure incandescence thrown out by mountains of solid ice towering all round. Closer, the trees round the house, sheathed in ice, dripped and sparkled with weird prismatic jewels, reflecting the vivid changing cascades above. Instead of the familiar night sky, the aurora borealis formed a blazing, vibrating roof of intense cold and colour, beneath which the earth was trapped with all its inhabitants, walled in by those impassable glittering ice-cliffs. The world had become an arctic prison from which no escape was possible, all its creatures trapped as securely as were the trees, already lifeless inside their deadly resplendent armour. Frozen by the deathly cold emanating from the ice, dazzled by the blaze of crystalline ice-light, she felt herself becoming part of the polar vision, her structure becoming one with the structure of ice and snow. As her fate, she accepted the world of ice, shining, shimmering, dead; she resigned herself to the triumph of glaciers and the death of her world. Fear was the climate she lived in; if she had ever known kindness it would have been different. The trees seemed to obstruct her with deliberate malice. All her life she had thought of herself as a foredoomed victim, and now the forest had become the malign force that would destroy her. In desperation she tried to run, but a hidden root tripped her, she almost fell. Branches caught in her hair, tugged her back, lashed out viciously when they were disentangled. The silver hairs torn from her head glittered among black needles; they were the clues her pursuers would follow, leading them to their victim. She escaped from the forest at length only to see the fjord waiting for her. An evil effluence rose from the water, something primitive, savage, demanding victims, hungry for a human victim. It had been night overhead all along, but below it was still daylight. There were no clouds. I saw islands scattered over the sea, a normal aerial view. Then something extraordinary, out of this world: a wall of rainbow ice jutting up from the sea, cutting right across, pushing a ridge of water ahead of it as it moved, as if the flat pale surface of sea was a carpet being rolled up. It was a sinister, fascinating sight, which did not seem intended for human eyes. I stared down at it, seeing other things at the same time. The ice world spreading over our world. Mountainous walls of ice surrounding the girl. Her moonwhite skin, her hair sparkling with diamond prisms under the moon. The moon’s dead eye watching the death of our world.