Sinister Death Quotes

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.

Where is Polonius? HAMLET In heaven. Send hither to see. If your messenger find him not there, seek him i' th' other place yourself. But if indeed you find him not within this month, you shall nose him as you go up the stairs into the lobby.

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

This surpassed the fear of death. Death would be a mercy if it would make the feeling stop, the uncontrollable panic mingling with the mind-scrambling certainty of something sinister approaching, something with no need to hurry, something that would not be so kind as to let him die. The fear was palpable, suffocating, irresistible.

So, apart from casting runes, what other hobbies do you have? Forbidden rituals, human sacrifices, torturing? –

The utter unbroken silence was more appalling than any ominous noise, than the loudest yells of anguish, than the most piercing screaming... Dead silence. Literally dead.

A sign on the door proclaimed: "The countess is NOT to be bothered except in the cases of death, disembowelment, the Apocalypse, or the arrival of her mother.

Nothing on earth really matters, there is nothing to fear, and death is but a question of style, a mere literary device, a musical resolution.

I steal one glance over my shoulder as soon as we are far from the foreboding luminance of the neon glow, and it is there that my stomach leaps into my throat. Squatting just shy of the light and partially concealed by the shade of an alley is a sinister silhouette beneath a crimson cowl, beaming a demonic smile which spans from cheek to swollen cheek.

It is astonishing how much worse one mosquito can be than a swarm. A swarm can be prepared against, but one mosquito takes on a personality—a hatefulness, a sinister quality of the struggle to the death.

It is a period of civil war. The spaceships of the rebels, striking swift From base unseen, have gain’d a vict’ry o’er The cruel Galactic Empire, now adrift. Amidst the battle, rebel spies prevail’d And stole the plans to a space station vast, Whose pow’rful beams will later be unveil’d And crush a planet: ’tis the DEATH STAR blast. Pursu’d by agents sinister and cold, Now Princess Leia to her home doth flee, Deliv’ring plans and a new hope they hold: Of bringing freedom to the galaxy. In time so long ago begins our play, In star-crossed galaxy far, far away.

I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat -- patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well -- the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell." Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot -- death, lives destroyed or the horror of the settings -- a crazy, chaotic, emotional house, the sinister movie theater.

For great changes in the human mind are terrible. As we realize them we realize the limitless possibilities of sinister deeds that lie hidden in every human being. A little child that loves a doll can become an old, crafty, secret murderer. How horrible! And perhaps it is still more horrible to think that, while the human envelope remains totally unchanged, every word of the letter within may become altered, and a message of peace fade into a sentence of death.

Do these robots looked armed? And I was talking to the dinosaur. Were you worried he would discuss me to death?

The audacity of a fine death always affects men. As soon as Enjolras folded his arms and accepted his end, the din of strife ceased in the room, and this chaos suddenly stilled into a sort of sepulchral solemnity. The menacing majesty of Enjolras disarmed and motionless, appeared to oppress this tumult, and this young man, haughty, bloody, and charming, who alone had not a wound, who was as indifferent as an invulnerable being, seemed, by the authority of his tranquil glance, to constrain this sinister rabble to kill him respectfully. His beauty, at that moment augmented by his pride, was resplendent, and he was fresh and rosy after the fearful four and twenty hours which had just elapsed, as though he could no more be fatigued than wounded. It was of him, possibly, that a witness spoke afterwards, before the council of war: "There was an insurgent whom I heard called Apollo." A National Guardsman who had taken aim at Enjolras, lowered his gun, saying: "It seems to me that I am about to shoot a flower.

We look back on history, and what do we see? Empires rising and falling; revolutions and counter-revolutions succeeding one another; wealth accumulating and wealth dispersed; one nation dominant and then another. As Shakespeare’s King Lear puts it, “the rise and fall of great ones that ebb and flow with the moon.” In one lifetime I’ve seen my fellow countrymen ruling over a quarter of the world, and the great majority of them convinced – in the words of what is still a favorite song – that God has made them mighty and will make them mightier yet. I’ve heard a crazed Austrian announce the establishment of a German Reich that was to last for a thousand years; an Italian clown report that the calendar will begin again with his assumption of power; a murderous Georgian brigand in the Kremlin acclaimed by the intellectual elite as wiser than Solomon, more enlightened than Ashoka, more humane than Marcus Aurelius. I’ve seen America wealthier than all the rest of the world put together; and with the superiority of weaponry that would have enabled Americans, had they so wished, to outdo an Alexander or a Julius Caesar in the range and scale of conquest. All in one little lifetime – gone with the wind: England now part of an island off the coast of Europe, threatened with further dismemberment; Hitler and Mussolini seen as buffoons; Stalin a sinister name in the regime he helped to found and dominated totally for three decades; Americans haunted by fears of running out of the precious fluid that keeps their motorways roaring and the smog settling, by memories of a disastrous military campaign in Vietnam, and the windmills of Watergate. Can this really be what life is about – this worldwide soap opera going on from century to century, from era to era, as old discarded sets and props litter the earth? Surely not. Was it to provide a location for so repetitive and ribald a production as this that the universe was created and man, or homo sapiens as he likes to call himself – heaven knows why – came into existence? I can’t believe it. If this were all, then the cynics, the hedonists, and the suicides are right: the most we can hope for from life is amusement, gratification of our senses, and death. But it is not all.

He had liked her enormously, and he loved Krug with the same passion that a big sleek long-flewed hound feels for the high-booted hunter who reeks of the marsh as he leans towards the red fire. Krug could take aim at a flock of the most popular and sublime human thoughts and bring down a wild goose any time. But he could not kill death.

There are many shades in the danger of adventures and gales, and it is only now and then that there appears on the face of facts a sinister violence of intention- that indefinable something which forces it upon the mind and the heart of a man, that this complication of accidents or these elemental furies are coming at him with a purpose of malice, with a strength beyond control, with an unbridled cruelty that means to tear out of him his hope and his fear, the pain of his fatigue and his longing for rest: which means to smash, to destroy, to annihilate all he has seen, known, loved, enjoyed, or hated; all that is priceless and necessary- the sunshine, the memories, the future,- which means to sweep the whole precious world utterly away from his sight by the simple and appalling act of taking his life.

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.

Death sat on a mountaintop. It wasn’t particularly high, or bare, or sinister. No witches held naked sabbats on it; Discworld witches, on the whole, didn’t hold with taking off anymore clothes than was absolutely necessary for the business in hand. No specters haunted it. No naked little men sat on the summit dispensing wisdom, because the first thing the truly wise man works out is that sitting around on mountaintops gives you not only hemorrhoids but frostbitten hemorrhoids. Occasionally people would climb the mountain and add a stone or two to the cairn at the top, if only to prove that there is nothing really damn stupid that humans won’t do.

If he were another person entirely, he might burst into flowery speech. If he did, she’d probably laugh at him. Besides, he didn’t believe in pretending to be anyone other than who he was. Even if she swooned at whatever poetic nonsense he managed to spout, she would only be disappointed once they grew comfortable with each other and he went back to making jokes about death and gonorrhea.

And try to keep them distracted. Keep saying arrogant things.” Zav looked over his shoulder, pinning me with his glare. “I do not take orders from law-breaking mongrels who do not acknowledge the supremacy of dragons.” “Yeah, say stuff like that.” I gave him a sarcastic thumbs-up. “You’re a natural.

Why do I know I exist if I also know I will not? Why was I given access to logical space and the mathematical structure of the world? Just to lose them when my body is destroyed? Why do I wake up in the night with the thought that I will die, why do I sit up, drenched in sweat, and scream and slap myself and try to suppress the thought that I will disappear for all eternity, that I will never be again, to the end of time? Why will the world end with me? We age: we stand quietly in line with those condemned to death. We are executed one after the other in a sinister extermination camp. We are first stripped of our beauty, youth, and hope. We are next wrapped in the penitential robe of illness, weariness, and decay. Our grandparents die, our parents are executed in front of us, and suddenly time gets short, you suddenly see your reflection in the axeblade. And only then do you realize you are living in a slaughterhouse, that generations are butchered and swallowed by the earth, that billions are pushed down the throat of hell, that no one, absolutely no one escapes. That not one person that you see coming out of the factory gates in a Mélies film is still alive. That absolutely everyone in an eighty-year-old sepia photograph is dead. That we all come into this world from a frightening abyss without our memories, that we suffer unimaginably on a speck of dust, and that we then perish, all in a nanosecond, as though we had never lived, as though we had never been.

Following directly behind the bier were the servants who would, in earlier times, have been slaughtered at the graveside, along with a warrior's horse. Musicians and torchbearers came next, with the rear taken up by the mimes- sinister, silent figures in wax masks modelled on dead members of the family.

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.

A vision of the Shining One swirling into our world, a monstrous, glorious flaming pillar of incarnate, eternal Evil--of people passing through its radiant embrace into that hideous, unearthly life-in-death which I had seen enfold the sacrifices--of armies trembling into dancing atoms of diamond dust beneath the green ray's rhythmic death--of cities rushing out into space upon the wings of that other demoniac force which Olaf had watched at work--of a haunted world through which the assassins of the Dweller's court stole invisible, carrying with them every passion of hell--of the rallying to the Thing of every sinister soul and of the weak and the unbalanced, mystics and carnivores of humanity alike; for well I knew that, once loosed, not any nation could hold the devil-god for long and that swiftly its blight would spread!

The room had the rather sinister tedium which some bedrooms have, a sort of weary banality which is a reminder of death. A dressing table can be a terrible thing.

... смерть — это всего лишь вопрос стиля, простой литературный прием, разрешение музыкальной темы.

Cheap objects resist involvement. We tend to invest less in their purchase, care, and maintenance, and that's part of what makes them so attractive. Cheap clothing lines—sold at discounters such as Target and H & M—are like IKEA emblems of the "cheap chic" where styles fills in for whatever quality goes lacking. There is nothing sinister in this, no deliberate planned obsolescence. These objects are not designed to fall apart, nor are they crafted not to fall apart. In many cases we know this and accept it, and have entered into a sort of compact. Perhaps we don't even want the object to last forever. Such voluntary obsolescence makes craftsmanship beside the point. We have grown to expect and even relish the easy birth and early death of objects.

But what is it, to be an artist? Nothing shows up the general human dislike of thinking, and man's innate craving to be comfortable, better than his attitude to this question. When these worthy people are affected by a work of art, they humbly say that that sort of thing is a 'gift.' And because in their innocence they assume that beautiful and uplifting results must have beautiful and uplifting causes, they never dream that the 'gift' in question is a very dubious affair and rests upon extremely sinister foundations. [...] Listen to this. I know a banker, grey-haired business man, who has a gift for writing stories. He employs this gift in his idle hours, and some of his stories are of the first rank. But despiteI say despite-this excellent gift his withers are by no means unwrung: on the contrary, he has had to serve a prison sentence, on anything but trifling grounds. Yes, it was actually first in prison that he became conscious of his gift, and his experiences as a convict are the main theme in all his works. One might be rash enough to conclude that a man has to be at home in some kind of jail in order to become a poet.

They glided out of the heat-haze on their camels like specters. There were twenty of them, and they were Tuareg. Their faces were hidden by black veils that left only slits for the eyes, and they wore purple robes that fluttered in the desert wind. They carried swords, muskets and seven-foot iron spears, and wore stilettos in sheaths on their left forearms. They were an impressive, sinister sight.

We have imagined that a white hospital train with a white Diesel engine has taken you through many a tunnel to a mountainous country by the sea. You are getting well there. But you cannot write because your fingers are so very weak. Moonbeams cannot hold even a white pencil. The picture is pretty, but how long can it stay on the screen? We expect the next slide, but the magic-lantern man has none left. Shall we let the theme of a long separation expand till it breaks into tears? Shall we say (daintily handling the disinfected white symbols) that the train is Death and the nursing home Paradise? Or shall we leave the picture to fade by itself, to mingle with other fading impressions? But we want to write letters to you even if you cannot answer. Shall we suffer the slow wobbly scrawl (we can manage our name and two or three words of greeting) to work its conscientious and unnecessary way across a post card which will never be mailed? Are not these problems so hard to solve because my own mind is not made up yet in regard to your death? My intelligence does not accept the transformation of physical discontinuity into the permanent continuity of a nonphysical element escaping the obvious law, nor can it accept the inanity of accumulating incalculable treasures of thought and sensation, and thought-behind-thought and sensation-behind-sensation, to lose them all at once and forever in a fit of black nausea followed by infinite nothingness. Unquote.

I find that chronic stress, which many people deal with, often stems from a clash between what we think society wants from us and what we believe we want. The expectations of others, whether perceived or genuine, can be a great burden.

Death sat on a mountaintop. It wasn’t particularly high, or bare, or sinister. No witches held naked sabbats on it; Discworld witches, on the whole, didn’t hold with taking off anymore clothes than was absolutely necessary for the business in hand. No specters haunted it. No naked little men sat on the summit dispensing wisdom, because the first thing the truly wise man works out is that sitting around on mountaintops gives you not only hemorrhoids but frostbitten hemorrhoids.

On behalf of those you killed, imprisoned, tortured, you are not welcome, Erdogan! No, Erdogan, you’re not welcome in Algeria. We are a country which has already paid its price of blood and tears to those who wanted to impose their caliphate on us, those who put their ideas before our bodies, those who took our children hostage and who attempted to kill our hopes for a better future. The notorious family that claims to act in the name of the God and religion—you’re a member of it—you fund it, you support it, you desire to become its international leader. Islamism is your livelihood Islamism, which is your livelihood, is our misfortune. We will not forget about it, and you are a reminder of it today. You offer your shadow and your wings to those who work to make our country kneel down before your “Sublime Door.” You embody and represent what we loathe. You hate freedom, the free spirit. But you love parades. You use religion for business. You dream of a caliphate and hope to return to our lands. But you do it behind the closed doors, by supporting Islamist parties, by offering gifts through your companies, by infiltrating the life of the community, by controlling the mosques. These are the old methods of your “Muslim Brothers” in this country, who used to show us God’s Heaven with one hand while digging our graves with the other. No, Mr. Erdogan, you are not a man of help; you do not fight for freedom or principles; you do not defend the right of peoples to self-determination. You know only how to subject the Kurds to the fires of death; you know only how to subject your opponents to your dictatorship. You cry with the victims in the Middle East, yet sign contracts with their executioners. You do not dream of a dignified future for us, but of a caliphate for yourself. We are aware of your institutionalized persecution, your list of Turks to track down, your sinister prisons filled with the innocent, your dictatorial justice palaces, your insolence and boastful nature. You do not dream of a humanity that shares common values and principles, but are interested only in the remaking of the Ottoman Empire and its bloodthirsty warlords. Islam, for you, is a footstool; God is a business sign; modernity is an enemy; Palestine is a showcase; and local Islamists are your stunned courtesans. Humanity will not remember you with good deeds Humanity will remember you for your machinations, your secret coups d’état, and your manhunts. History will remember you for your bombings, your vengeful wars, and your inability to engage in constructive dialogue with others. The UN vote for Al-Quds is only an instrument in your service. Let us laugh at this with the Palestinians. We know that the Palestinian issue is your political capital, as it is for many others. You know well how to make a political fortune by exploiting others’ emotions. In Algeria, we suffered, and still suffer, from those who pretend to be God and act as takers and givers of life. They applaud your coming, but not us. You are the idol of Algerian Islamists and Populists, those who are unable to imagine a political structure beyond a caliphate for Muslim-majority societies. We aspire to become a country of freedom and dignity. This is not your ambition, nor your virtue. You are an illusion You have made beautiful Turkey an open prison and a bazaar for your business and loved ones. I hope that this beautiful nation rises above your ambitions. I hope that justice will be restored and flourish there once again, at least for those who have been imprisoned, tortured, bombed, and killed. You are an illusion, Erdogan—you know it and we know it. You play on the history of our humiliation, on our emotions, on our beliefs, and introduce yourself as a savior. However, you are a gravedigger, both for your own country and for your neighbors. Turkey is a political miracle, but it owes you nothing. The best thing you can do

At a lunchtime reception for the diplomatic corps in Washington, given the day before the inauguration of Barack Obama as president, I was approached by a good-looking man who extended his hand. 'We once met many years ago,' he said. 'And you knew and befriended my father.' My mind emptied, as so often happens on such occasions. I had to inform him that he had the advantage of me. 'My name is Hector Timerman. I am the ambassador of Argentina.' In my above album of things that seem to make life pointful and worthwhile, and that even occasionally suggest, in Dr. King’s phrase as often cited by President Obama, that there could be a long arc in the moral universe that slowly, eventually bends toward justice, this would constitute an exceptional entry. It was also something more than a nudge to my memory. There was a time when the name of Jacobo Timerman, the kidnapped and tortured editor of the newspaper La Opinion in Buenos Aires, was a talismanic one. The mere mention of it was enough to elicit moans of obscene pleasure from every fascist south of the Rio Grande: finally in Argentina there was a strict ‘New Order’ that would stamp hard upon the international Communist-Jewish collusion. A little later, the mention of Timerman’s case was enough to derail the nomination of Ronald Reagan’s first nominee as undersecretary for human rights; a man who didn’t seem to have grasped the point that neo-Nazism was a problem for American values. And Timerman’s memoir, Prisoner without a Name, Cell without a Number, was the book above all that clothed in living, hurting flesh the necessarily abstract idea of the desaparecido: the disappeared one or, to invest it with the more sinister and grisly past participle with which it came into the world, the one who has been ‘disappeared.’ In the nuances of that past participle, many, many people vanished into a void that is still unimaginable. It became one of the keywords, along with escuadrone de la muerte or ‘death squads,’ of another arc, this time of radical evil, that spanned a whole subcontinent. Do you know why General Jorge Rafael Videla of Argentina was eventually sentenced? Well, do you? Because he sold the children of the tortured rape victims who were held in his private prison. I could italicize every second word in that last sentence without making it any more heart-stopping. And this subhuman character was boasted of, as a personal friend and genial host, even after he had been removed from the office he had defiled, by none other than Henry Kissinger. So there was an almost hygienic effect in meeting, in a new Washington, as an envoy of an elected government, the son of the brave man who had both survived and exposed the Videla tyranny.

What drove such people to their sinister occupations? Spite? Certainly, but also the desire for order. Because the desire for order tries to transform the human world into an inorganic reign in which everything goes well, everything functions as a subject of an impersonal will. The desire for order is at the same time a desire for death, because life is a perpetual violation of order. Or, inversely, the desire for order is a virtuous pretext by which man's hatred for man justifies its crimes.

A time is coming that is no longer the time that emerged from the death of communism, from the triumph of liberal values, and from the pronounced “end of history,” an ending to which I never subscribed but that was beginning to take on a truly sinister face.

BEATRICE: They are the clothing of the New Woman. They are meant not to be feminine, but practical. CATHERINE: On women they look like men’s clothing, on men they look like women’s clothing. That’s where the New Woman meets the Dandy. BEATRICE: Why is it necessary to categorize people in that fashion? Why can we not all wear whatever we wish, whatever is useful and aesthetically pleasing? I believe that someday we shall all wear garments that are light and of a pleasing texture, easy to put on and take off. At the same time, they will express the aspirations of the spirit. They will be like the garments of the Greeks, both graceful and functional. Why can we not dress in such a fashion now? MRS. POOLE: Because this is England, and you would all catch your deaths of cold.

…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.

I kiss her lips, now fully aware that love is the darkest of all creatures. For what is crueler than a possession you have no control over? What is more sinister than a craving you will never fill? It is an emotion without death, a sheep in wolf’s clothing, and if that’s not the most sadistic human emotion, I don’t know what is.

Grant adopted unusual precautions, returning to the Willard Hotel twice daily for meals and staying indoors at night. When he set eyes on images of John Wilkes Booth, he immediately recognized the sinister horseman who had shadowed his path to the train station and knew that he himself had stood on the death list of intended victims.

Initially, Jesus preached neither himself nor the church, but the kingdom of God. The kingdom of God is the realization of a fundamental utopia of the human heart, the total transfiguration of this world, free from all that alienates human beings, free from pain, sin, divisions, and death. He came and announced: “The time has come, the kingdom of God is close at hand!” He not only promised this new reality but already began to realize it, showing that it is possible in the world. He therefore did not come to alienate human beings and carry them off to another world. He came to confirm the good news: This sinister world has a final destiny that is good, human, and divine.

A desire to attain short-term happiness while laboring under the weight a looming death sentence is an obvious paradox. Suicide, as distinguished from medical euthanasia, is an emotional reaction to the absurdity of life. Suicide is a panic-stricken reflex induced by the sinister twins of fear and foreboding. A rational person does not commit self-murder because their longing for happiness is incongruent with their present day reality. Suicide is a superficial response to hard times; suicide is a pusillanimous solution. A more measured reaction and, therefore, ultimately a braver and logical tactic is to meet life’s pillbox of irrationality headfirst. Upon soul-searching reflection, a thinking person accepts that while he or she might never comprehend a unifying meaning of life they still prefer to experience each permitted day of life to the fullest. A pragmatic person accepts the cold fact that happiness is fleeting and death is inevitable. By acknowledging and accepting the underlying absurdity of life, the prisoner awakens to discover his own humanity. By refusing to cooperate with death, by working each day to expand personal consciousness, by savoring each moment of life regardless of its hazards, adversities, misfortunes, and seemingly lack of overriding purpose, an impertinent ward of time transcends his or her incarnate incarceration.

Even in ancient, pre-Christian times, Odin had a somewhat “sinister” or dangerous reputation. This is due to a whole complex of issues, but the most essential principle underlying this reputation appears to be that he is immersed in things—universal order, mysteries, inspiration, death—that humans rarely understand and hence often fear and dread.

He turned abruptly his great searching eyes from the sea to Stephen's face. --The aunt thinks you killed your mother, he said. That's why she won't let me have anything to do with you. --Someone killed her, Stephen said gloomily. --You could have knelt down, damn it, Kinch, when your dying mother asked you, Buck Mulligan said. I'm hyperborean as much as you. But to think of your mother begging you with her last breath to kneel down and pray for her. And you refused. There is something sinister in you . . . He broke off and lathered again lightly his farther cheek. A tolerant smile curled his lips. --But a lovely mummer, he murmured to himself. Kinch, the loveliest mummer of them all. He shaved evenly and with care, in silence, seriously. Stephen, an elbow rested on the jagged granite, leaned his palm against his brow and gazed at the fraying edge of his shiny black coat-sleeve. Pain, that was not yet the pain of love, fretted his heart. Silently, in a dream she had come to him after her death, her wasted body within its loose brown grave-clothes giving off an odour of wax and rosewood, her breath, that had bent upon him, mute, reproachful, a faint odour of wetted ashes.

Thus he shut himself up, he lived there, he was absolutely satisfied with it, leaving on one side the prodigious questions which attract and terrify, the fathomless perspectives of abstraction, the precipices of metaphysics—all those profundities which converge, for the apostle in God, for the atheist in nothingness; destiny, good and evil, the way of being against being, the conscience of man, the thoughtful somnambulism of the animal, the transformation in death, the recapitulation of existences which the tomb contains, the incomprehensible grafting of successive loves on the persistent I, the essence, the substance, the Nile, and the Ens, the soul, nature, liberty, necessity; perpendicular problems, sinister obscurities, where lean the gigantic archangels of the human mind; formidable

Surgery is the most masculine of medical disciplines, taking knives and penetrating the body to find disease and destroy it. It is a war game in which cold and shiny stainless steel is pitted against the unseen, sinister but discoverable and conquerable enemy. Pediatrics is in many ways the most feminine of medical disciplines, with its focus on small children, preventive care, nurturing. In terms of gender, neonatology seems to be somewhere in between.

Sinister is the breath that fills our wings, for what are we? What are we beneath skin and feathers?” His question was not left without an answer; Magnus made good on it. “We are the children of incestuous and obscene demons. We are scavengers. We smell the scent of death carried forth by the winds. And once we are past our decade, our thirst for knowledge and survival dims; and we consider ourselves fortunate. For with age comes wisdom, and with age comes death. A murder of crows awaits us all.

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.

But underneath all this reasonable talk, this scientific speculating, no white Afrikaner could quite put down the way it felt…Something sinister was moving out in the veld: he was beginning to look at their faces, especially those of the women, lined beyond the thorn fences, and he knew beyond logical proof: there was a tribal mind at work out here, and it had chosen to commit suicide…Puzzling. Perhaps we weren’t as fair as we might have been, perhaps we did take their cattle and their lands away…and then the work-camps of course, the barbed wire, and the stockades…Perhaps they feel it is a world they no longer want to live in. Typical of them, though, giving up, crawling away to die…why won’t they even negotiate? We could work out a solution, some solution… It was a simple choice for the Hereros, between two kinds of death: tribal death, or Christian death. Tribal death made sense. Christian death made none at all. It seemed an exercise they did not need. But to the Europeans, conned by their own Baby Jesus Con Game, what they were witnessing among these Hereros was a mystery potent as that of the elephant graveyard, or the lemmings rushing into the sea.

Some bears are sold for amazing sums at auction. An example is a very old stuffed individual named Mabel that had belonged to Elvis Presley (as a child or an adult?) and had been sold at auction several times after the King's death; it was made in the Steiff workshop in 1909. Its end was exceedingly sinister. Lent by its owner for an exhibition of stuffed bears in Wells, England, in which it was to be the star attraction, it provoked a hatred or jealousy of a young Doberman accompanying the night watchman after the first day of the exhibition. The dog seized the precious relic and furiously bit and clawed it to pieces. (252)

I would have, Damien! I would have! I would have rather died a thousand painful, torturous deaths than watch you die one! I would have given up anything to go back to that day and relive it!” Damien takes a step back as I run shaky fingers through my hair. I lower my voice and cry, “When you died, I thought I lost everything. I was empty. Numb inside. And the pain...the pain of feeling my heart break over and over again was never ending. I'm sorry about what happened. I think you know that. But what I think you know more than anything is you haunting me and reminding me of what you sacrificed is the most mean-spirited thing you've ever done.” More tears well in my eyes, and I suck them back trying to be strong. “The Damien, I knew wouldn't want this for me. He wouldn't want me to live the rest of my life, loving his ghost. My Damien was too proud, good, and selfless for that.” The one thing that I forgot was that in this dream, this is not my Damien. He's a sinister, sick, and twisted version of the boy I loved. And I know this when he lunges at me, wraps both of his hands around my neck, cuts off the air in my throat, and whispers in a deadly voice, “Love me.” “No!” I bolt upright in my bed choking on air. “No!” I try to steady my breathing, but I'm too shaken up to concentrate

As I inspected the engravings for sale, I noticed a very fine classical scene within which was written, FERREA VIRGA EST, UMBRATILIS MOTUS. Recognizing the Latin motto from the sundial at Delafosse, I asked the proprietor if he knew the meaning. "'The rod is of iron, the motion of shadow,'" he told me obligingly. "Thank you," I said with a smile , and returned to the engraving. It was a memento mori, an Italian scene in which the sundial was reminiscent of a tomb. On one side, a pair of young lovers basked idly in sunshine, while on the other they slept in sinister shadow. An ugly representation of Death approached them from behind the ornate tomb. They do not see what pursues them, I mused.

Nevertheless they come up with their own history of creation, the Dreaming. The first man was Ber-rook-boorn. He was made by Baiame, the uncreated, who was the beginning of everything, and who loved and took care of all living things. In other words, a good man, this Baiame. Friends called him the Great Fatherly Spirit. After Baiame established Ber-rook-boorn and his wife in a good place, he left his mark on a sacred tree—yarran—nearby, which was the home of a swarm of bees. “ ‘You can take food from anywhere you want, in the whole of this country that I have given you, but this is my tree,’ he warned the two people. ‘If you try to take food from there, much evil will befall you and those who come after you.’ Something like that. At any rate, one day Ber-rook-boorn’s wife was collecting wood and she came to the yarran tree. At first she was frightened at the sight of the holy tree towering above her, but there was so much wood lying around that she did not follow her first impulse—which was to run away as fast as her legs could carry her. Besides, Baiame had not said anything about wood. While she was gathering the wood around the tree she heard a low buzzing sound above her head, and she gazed up at the swarm of bees. She also saw the honey running down the trunk. She had only tasted honey once before, but here there was enough for several meals. The sun glistened on the sweet, shiny drops, and in the end Ber-rook-boorn’s wife could not resist the temptation and she climbed up the tree. “At that moment a cold wind came from above and a sinister figure with enormous black wings enveloped her. It was Narahdarn the bat, whom Baiame had entrusted with guarding the holy tree. The woman fell to the ground and ran back to her cave where she hid. But it was too late, she had released death into the world, symbolized by the bat Narahdarn, and all of the Ber-rook-boorn descendants would be exposed to its curse. The yarran tree cried bitter tears over the tragedy that had taken place. The tears ran down the trunk and thickened, and that is why you can find red rubber on the bark of the tree nowadays.” Andrew puffed happily on his cigar.

All was calm and motionless in the wondrous Garden, and the marvelously brilliant flowers seemed breathless; and they suffused the Youth with a scent which made the head whirl and oppressed the heart with a sinister languor—a scent which was reminiscent of the obscure, rushing, thirsting sighs of vanilla, cyclamen, datura and lily, of evil and fateful flowers which in dying themselves destroy, bewitching with a mysterious death. The Youth resolutely decided to make his way into the wondrous Garden, to inhale the mysterious fragrances which the Beauty inhaled, and gain her love even though the price might be life itself, even though the road to it might be a fatal road, a road of no return. ("The Poison Garden")

Christian art understands that images are important partly because they can generate compassion, the fragile quality which enables the boundaries of our egos to dissolve, helps us to recognize ourselves in the experiences of strangers and can make their pain matter to us as much as our own. Art has a role to play in this manoeuvre of the mind upon which, not coincidentally, civilization itself is founded, because the unsympathetic assessments we make of others are usually the result of nothing more sinister than our habit of looking at them in the wrong way, through lenses clouded by distraction, exhaustion and fear, which blind us to the fact that they are really, despite a thousand differences, just altered versions of ourselves: fellow fragile, uncertain, flawed beings likewise craving love and in urgent need of forgiveness. As if to reinforce the idea that to be human is, above all else, to partake in a common vulnerability to misfortune, disease and violence, Christian art returns us relentlessly to the flesh, whether in the form of the infant Jesus’s plump cheeks or of the taut, broken skin over his ribcage in his final hours. The message is clear: even if we do not bleed to death on a cross, simply by virtue of being human we will each of us suffer our share of agony and indignity, each face appalling, intractable realities which may nevertheless kindle in us feelings of mutuality. Christianity hints that if our bodies were immune to pain or decay, we would be monsters.

The hatred which some of his order feel for Socialists and Demagogues Lord Marshmoreton kept for roseslugs, rose-beetles and the small, yellowish-white insect which is so depraved and sinister a character that it goes through life with an alias—being sometimes called a rose-hopper and sometimes a thrips. A simple soul, Lord Marshmoreton—mild and pleasant. Yet put him among the thrips, and he became a dealer-out of death and slaughter, a destroyer in the class of Attila the Hun and Genghis Khan. Thrips feed on the underside of rose leaves, sucking their juice and causing them to turn yellow; and Lord Marshmoreton's views on these things were so rigid that he would have poured whale-oil solution on his grandmother if he had found her on the underside of one of his rose leaves sucking its juice.

All Sicilian expression, even the most violent, is really wish-fulfillment: our sensuality is a hankering for oblivion, our shooting and knifing a hankering for death; our laziness, our spiced and drugged sherbets, a hankering for voluptuous immobility, that is, for death again; our meditative air is that of a void wanting to scrutinize the enigmas of nirvana. That is what gives power to certain people among us, to those who are half awake: that is the cause of the well-known time lag of a century in our artistic and intellectual life; novelties attract us only when they are dead, incapable of arousing vital currents; that is what gives rise to the extraordinary phenomenon of the constant formation of myths which would be venerable if they were really ancient, but which are really nothing but sinister attempts to plunge us back into a past that attracts us only because it is dead.

Cheng Xin’s eyes moistened. She was thinking of Tianming, of the man who struggled alone in the long night of outer space and an eerie, sinister alien society. To convey his important message to the human race, he must have racked his brain until he had devised such a metaphorical system, and then spent ages in his lonely existence to create over a hundred fairy tales and carefully disguise the intelligence report in three of those stories. Three centuries ago, he had given Cheng Xin a star; now, he brought hope to the human race. Thereafter, steady progress was made in deciphering the message. Other than the discovery of the metaphorical system, the effort was also aided by another guess that was commonly accepted, though unconfirmed: While the first part of the message to be successfully deciphered involved escape from the Solar System, the rest of the message likely had to do with the safety notice. The interpreters soon realized that compared to the first bit of intelligence, the rest of the information hidden in the three stories was far more complex. At

Dr. Fauci, Bill Gates, and WHO financed a cadre of research mercenaries to concoct a series of nearly twenty studies—all employing fraudulent protocols deliberately designed to discredit HCQ as unsafe. Instead of using the standard treatment dose of 400 mg/day, the 17 WHO studies administered a borderline lethal daily dose starting with 2,400 mg.61 on Day 1, and using 800 mg/day thereafter. In a cynical, sinister, and literally homicidal crusade against HCQ, a team of BMGF operatives played a key role in devising and pushing through the exceptionally high dosing. They made sure that UK government “Recovery” trials on 1,000 elderly patients in over a dozen British, Welsh, Irish and Scottish hospitals, and the U.N. “Solidarity” study of 3,500 patients in 400 hospitals in 35 countries, as well as additional sites in 13 countries (the “REMAP-COVID” trial), all used those unprecedented and dangerous doses.62 This was a brassy enterprise to “prove” chloroquine dangerous, and sure enough, it proved that elderly patients can die from deadly overdoses. “The purpose seemed, very clearly, to poison the patients and blame the deaths on HCQ,” says Dr. Meryl Nass, a physician, medical historian, and biowarfare expert.

The state's case against Smith, however, did claim to speak to his actual guilt or innocence, and it has to be considered carefully. The reason this is important has nothing to do with Roy Smith or Bessie Goldberg or even Al DeSalvo; they're all dead. In some ways there is nothing less relevant than an old murder case. The reason it is important is this: Here is a group of people who have gathered to judge--and possibly execute--a fellow citizen. It's the highest calling there is, the very thing that separates us from social anarchy, and it has to be done well. A trial, however, is just a microcosm of the entire political system. When a democratic government decides to raise taxes or wage war or write child safety laws, it is essentially saying to an enormous jury, "This is our theory of how the world works, and this is our proposal for dealing with it. If our theory makes sense to you, vote for us in the next election. If it doesn't, throw us out." The ability of citizens to scrutinize the theories insisted on by their government is their only protection against abuse of power and, ultimately, against tyranny. If ordinary citizens can't coolly and rationally evaluate a prosecutor's summation in a criminal trial, they won't have a chance at calling to task a deceitful government. And all governments are deceitful--they're deceitful because it's easier than being honest. Most of the time, it's no more sinister than that.

Let us drink deep brothers,' he cried, leaving off his strange anointment for a while, to lift a great glass, filled with sparkling liquor, to his lips. 'Let us drink to our approaching triumph. Let us drink to the great poison, Macousha. Subtle seed of Death, - swift hurricane that sweeps away Life, - vast hammer that crushes brain and heart and artery with its resistless weight, -I drink to it.' 'It is a noble concoction, Duke Balthazar,' said Madame Filomel, nodding in her chair as she swallowed her wine in great gulps. 'Where did you obtain it?' 'It is made,' said the Wondersmith, swallowing another great draught of wine ere he replied, 'in the wild woods of Guiana, in silence and in mystery. Only one tribe of Indians, the Macoushi Indians, know the secret. It is simmered over fires built of strange woods, and the maker of it dies in the making. The place, for a mile around the spot where it is fabricated, is shunned as accursed. Devils hover over the pot in which it stews; and the birds of the air, scenting the smallest breath of its vapour from far away, drop to earth with paralysed wings, cold and dead.' 'It kills, then, fast?' asked Kerplonne, the artificial-eye maker, - his own eyes gleaming, under the influence of the wine, with a sinister lustre, as if they had been fresh from the factory, and were yet untarnished by use. 'Kills?' echoed the Wondersmith, derisively; 'it is swifter than thunderbolts, stronger than lightning. But you shall see it proved before we let forth our army on the city accursed. You shall see a wretch die, as if smitten by a falling fragment of the sun.' ("The Wondersmith")

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.

The sandpaper of Greg's laugh fascinated Lexi as much as it frightened her. It was why she always thought of him as the Sandman, an interpretation not as sinister as E. T. A. Hoffman's but one that seemed to match, suddenly, in its role as a harbinger of death. Greg's voice rebounded around the building, dry and abrasive. Mirthless laughter is one of mankind's trademark noises. It's been used to mask pain for centuries.

Joan felt that she would always be haunted and would always suffer that pang for Kells. She would never lie down in the peace and quiet of her home, wherever that might be, without picturing Kells, dark and forbidding and burdened, pacing some lonely cabin or riding a lonely trail or lying with his brooding face upturned to the lonely stars. Sooner or later he would meet his doom. It was inevitable. She pictured over that sinister scene of the dangling forms; but no — Kells would never end that way. Terrible as he was, he had not been born to be hanged. He might be murdered in his sleep, by one of that band of traitors who were traitors because in the nature of evil they had to be. But more likely some gambling-hell, with gold and life at stake, would see his last fight. These bandits stole gold and gambled among themselves and fought. And that fight which finished Kells must necessarily be a terrible one. She seemed to see into a lonely cabin where a log fire burned low and lamps flickered and blue smoke floated in veils and men lay prone on the floor — Kells, stark and bloody, and the giant Gulden, dead at last and more terrible in death, and on the rude table bags of gold and dull, shining heaps of gold, and scattered on the floor, like streams of sand and useless as sand, dust of gold — the Destroyer. ZANE GREY. THE BORDER LEGION (Kindle Locations 4367-4376).

was sick of people in the program quoting the principles of the Big Book. I wanted to scream when I heard, “But for the grace of God.” What fucking grace had God given me? And don’t get me started on the gratitude list. I had no gratitude. The distress and loneliness made me again consider ending my life. I thought the program was a trick to psychologically prevent me from slicing my wrists. Quotations like “Easy does it,” “This shall too pass,” “Thanks for sharing,” “Keep coming back,” did nothing for me but induce intestinal illness. Holding hands and watching people go out of their way to do anything and everything for me made me extremely uncomfortable. I loathed the closeness and companionship of the people who were working hard for my benefit. The disgrace of not having my own form of transportation, career, dignity, and independence made me resent everything this horrible existence had to offer. I held these feelings inside and operated like a robot going through the motions of living. I contemplated how to extinguish my mental anguish. Death is what first came to mind. I'd fantasize driving at a hundred miles an hour into a tree, taking a full bottle of Valium or Trazadone, or, better yet, taking a full bottle of both drugs and then doing it. But something inside woke me up, convincing me there was a certain merit, some reason worth living for on this miserable planet. From there, my determination and drive to attain dignity and independence kicked in. I wanted to believe there truly was a good person inside. I wanted to find him. Insidious images of relaxation flashed through my mind like bright pictures. It was as though all my tension was being released after inhaling a fat line of cocaine while watching porn. The excitement of reliving the act seemed so real that my heart palpitated erratically. I'd get furious with myself for even thinking about going back to that sinister part of my life. When I returned to the Oxford House after the retreat, I was introduced to a local priest who was in the fellowship for treatment. When I first found out he was a priest, I couldn’t stand the sight of him. It disgusted me that people gave him respect because he was a man of the cloth. The fellow addicts thought it was cool they had one of God’s errant angels among them confessing his sins of addictions. Little

Along the rough cobbled streets that had served so well in surprise attacks and buccaneer landings, weeds hung from the balconies and opened cracks in the whitewashed walls of even the best-kept mansions, and the only signs of life at two o’clock in the afternoon were languid piano exercises played in the dim light of siesta. Indoors, in the cool bedrooms saturated with incense, women protected themselves from the sun as if it were a shameful infection, and even at early Mass they hid their faces in their mantillas. Their love affairs were slow and difficult and were often disturbed by sinister omens, and life seemed interminable. At nightfall, at the oppressive moment of transition, a storm of carnivorous mosquitoes rose out of the swamps, and a tender breath of human shit, warm and sad, stirred the certainty of death in the depths of one’s soul. And

All “is” statements expressing judgment become more accurate (describe the instrument used to make the evaluation) when rephrased as “seems to me” statements: “Beethoven seems better to me than Punk Rock,” “Punk Rock seems better to me than Beethoven,” “Abstract Expressionism seems like junk to me,” “Abstract Expressionism seems to me the most important innovation since Cubism” all speak a “truth” — in the sense of the truth of experience or the truth of perception — even though different people will speak them. (Ah, alas, Gross and Levitt detect sinister “perspectivism” rearing its head again . . .)

It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armoured space station with enough power to destroy an entire planet. Pursued by the Empire’s sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy….

Females do not fight,” he said. “They rule society and command males to fight.

find that chronic stress, which many people deal with, often stems from a clash between what we think society wants from us and what we believe we want. The expectations of others, whether perceived or genuine, can be a great burden.

The goal of physics is to discover the fundamental laws of nature. Although the man-made desertification of the Earth could not be calculated directly from physics, it still follows laws. Universal laws are constant.” “Heh heh heh heh.” Ding Yi’s laugh was not joyous at all. As he recalled it later, Bai Aisi thought it was the most sinister laughter he had ever heard. There was a hint of masochistic pleasure, an excitement at seeing everything falling into the abyss, an attempt to use joy as a cover for terror, until terror itself became an indulgence. “Your last sentence! I’ve often comforted myself this way. I’ve always forced myself to believe that there’s at least one table at this banquet filled with dishes that remain fucking untouched.... I tell myself that again and again. And I’m going to say it one more time before I die.” Bai Aisi thought Ding Yi’s mind was elsewhere and that he talked as if he were dreaming. He didn’t know what to say. Ding Yi continued, “At the beginning of the crisis, when the sophons were interfering with the particle accelerators, a few people committed suicide. At the time, I thought what they did made no sense. Theoreticians should be excited by such experimental data! But now I understand. Those people knew more than I did. Take Yang Dong, for instance. She knew much more than I did, and thought further. She probably knew things we don’t even know now. Do you think only sophons create illusions? Do you think the only illusions exist in the particle accelerator terminals? Do you think the rest of the universe is as pure as a virgin, waiting for us to explore? [........] The car tumbled over the rim and dropped in the sandfall. The sand raining down around them seemed to stop as everything plunged into the abyss. Bai Aisi screamed with utter terror, but he couldn’t hear himself. All he heard was Ding Yi’s wild laughter. “Hahahahaha... There’s no table untouched at the dinner party, and there’s no virgin untouched in the universe... waheeheeheehee... wahahahaha...

Constantine’s mother Helena (now aged seventy-five) made a sinister intervention: she criticized his killing of Crispus and convinced him the boy had been seduced then framed by Fausta. As a result Fausta was boiled to death in the steam baths. It is ironic that this murderous mother-in-law would become a Christian saint.

Like any of man’s inventions, artificial intelligence can be used for good or evil. In the right hands and with proper intent, it can do beneficial things for humanity. Conversely, it can be used by evil dictators, sinister politicians, and malevolent leaders to create something as dangerous as a deadly weapon in a terrorist’s hands. Yuval Noah Harari is a leading spokesperson for the globalists and their transhumanist, AI, and Fourth Industrial Revolution agenda. Harari is also an advisor to Klaus Schwab and the World Economic Forum. Barack Obama refers to Harari as a prophet and recommends his books. Harari wrote a book titled Sapiens and another titled Homo Deus (“homo” being a Latin word for human or man, and “deus” being the Latin word for god or deity). He believes that homo sapiens as we know them have run their course and will no longer be relevant in the future. Technology will create homo deus, which will be a much superior model with upgraded physical and mental abilities. Harari tells us that humankind possesses enormous new powers, and once the threat of famine, plagues, and war is finally lifted, we will be looking for something to do with ourselves. He believes the next targets of our power and technology are likely to be immortality, happiness, and divinity. He says: “We will aim to overcome old age and even death itself. Having raised humanity above the beastly level of survival struggles, we will now aim to upgrade humans into gods, and turn homo sapiens into homo deus. When I say that humans will upgrade themselves into gods in the 21st century, this is not meant as a metaphor; I mean it literally. If you think about the gods of ancient mythology, like the Hebrew God, they have certain qualities. Not just immortality, but maybe above all, the ability to create life, to design life. We are in the process of acquiring these divine abilities. We want to learn how to engineer and produce life. It’s very likely that in the 21st century, the main products of the economy will no longer be textiles and vehicles and weapons. They will be bodies and brains and minds.48

His skeleton face paint isn't worn as it was meant to be - a Halloween costume. No, it's like it's a part of him, showing me his inner self, but more so the sinister things he would willingly do to keep me. That even in death, he would claim me and drag me to the afterlife with him to ensure our unbreakable bond. He is mine, and I am his.

Monster. Demon. Evil. Insufferable child. Miserable bitch. Though they all hurt and damaged me in unique ways, I think one was worse. One broke me, unlike the rest. One made me realize that perhaps death would be the only cry loud enough to be heard. No one heard me. No one ever fucking heard me. “Being told that I was, inevitably, going to kill people. Being told that they could see the sinister evil inside my soul. That looking at me made them sick.” I choke on tears and swallow hard, blinking past the emotions and fighting all my inner safety walls to get the words out. “That I was better off dead. Because all my existence did was make them wish to die.

Sex is the glue of relationships, Caitlin, and it's what life is all about. It's the opposite of death, of giving up, of getting swamped by... What's out there. See it as symbolic.

You might as well have her come in,” Freddy muttered. “I can’t have her death on my hands. She’d make the most uncivil shade ever, and I refuse to have her haunting my hallway.” Free actually smiled at that—as if the thought of being an extremely rude ghost pleased her—and she came

Other unsolved murders or untimely deaths were readily blamed on the supposedly sinister Jews: If a Jewish doctor failed to save a life, the whole Jewish community might be attacked and fined.

In its extreme Stalinist form the Russian megamachine betrayed, even before Hitler, the most sinister defects of the ancient megamachine: its reliance upon physical coercion and terrorism, its systematic enslavement of the entire working population, including members of the dictatorial party, its suppression of free personal intercourse, free travel, free access to the existing store of knowledge, free association, and finally its imposition of human sacrifice to appease the wrath and sustain the life of its terrible, blood-drinking God, Stalin himself. The result of this system was to transform the entire country into a prison, part concentration camp, part extermination laboratory, from which the only hope of escape was by death. The 'liberty, fraternity, and equality' of the French Revolution had turned, by a further revolution around the same axle, into alienation, inequality, and enslavement.

Maybe someday there will be a more gender-neutral orientation in our society, but as it stands today, almost every societal institution positively reinforces the heterosexual model while either ignoring altogether or actively condemning the homosexual one. Everyone from your mom and dad to your clergyman to your teacher to your friends work, either consciously or unconsciously, to protect and reinforce societal norms. There’s nothing sinister or overtly conspiratorial about it. It’s how societies function. Has anyone in your family married outside of his or her race or religion?” I said: “My cousin Arty wound up marrying a Puerto Rican woman from the Bronx who refused to convert.” “And what was your family’s reaction, Mr. Prager?” “My aunt and uncle sat shiva. They treated his marriage like a death in the family. He was dead to them.

The man leaned forward and whispered dramatically. “The Feather Heiress.” “Her wealth comes from…goose down?” “No.” Whitting didn’t look at him. “It’s originally from transcontinental steamers, if you must know. She’s called the Feather Heiress because being around her is like being beaten to death by feathers.” He looked utterly serious. Oliver shook his head in exasperation. “You can’t beat someone to death with a feather.” “You’re an expert on it, are you?” Whitting raised his chin. “Shows how much you know. Imagine someone starts beating you with a feather. Imagine that they never stop, until one day, the constant annoyance of goose feathers pushes you over the edge. In a fury you strangle the person who has been beating you.” He demonstrated this with a wrench of his hands. “Then you hang for murder. You, my friend, have been beaten to death by feathers.” Oliver snorted. “Nobody is that bad.” Whitting put his hand to his head and rubbed at the furrows on his brow. “She’s worse.

He was struggling to keep his emotions in check—at least until he could get away from his father. After Sanja’s death, he had felt hollow inside—empty…emotionless. And he had assumed he would never feel anything ever again. But after his last exchange with Lauren, something was stirring within him—something dark and sinister. Something too frightening to face. Then

rushing through her system drowned all other sound. Numb, she listened to the world pulse in and out around her. Then, deathly silence reigned.    

We face today an especially sinister emergence, not just more police violence, mass incarceration, and a death penalty, but the rise of the U.S. “carceral” or “penal state.” Here

The two wars that I have participated in were not horribly fascinating like the devil-protected, fiery gates at all. Rather, war is unspeakably disgusting. War is seeing poorly trained American boys committing atrocities—savagely cutting the ears off of injured enemy soldiers. It is stopping them and then wondering about being shot in the back. War is a young husband with his privates blown away and begging you for a grenade and you are tempted to give him one. War is the elderly, half-crazed peasant suffering from “interrogation wounds” lying in the mud beside his dead wife who had been sexually assaulted because he would not tell secrets that he probably did not possess. War is to see an American Marine cut in two by machine gun bullets; seeing him writhing in the dirt, trying to pull his own intestines out of the black, gritty sand and shove them back into the cavity that was his abdomen while pleading with his eyes for you to come out in front of the lines and help him; war is seeing that tortured silent plea just after seeing two of his buddies try, but be killed immediately by sinister, hissing sniper fire from nowhere. War is a young man, your own brother (say), with half his face shot away, while he is choking and drowning in his own vomit as it pulsates out of his throat. This is war. To veil it with the word, “hell,” is a manipulative lie, like calling it “heaven.” Face it; be able to discuss it for what it is—horrible death over and over—so that we are truly motivated to stop it.

A magnificent fireworks began: magnesium flares blindingly white, yellow, and then red, like dying stars; straight bright red streaks of machine-gun fire; elegant and clear lines of bullets traced like fugitive neon light; and scarlet, sinister rugged patches from antiaircraft artillery. Then the noise: after the solemn, promising silence of the flares came the mad disorderly reaction of the inhabitants of the earth to the regular, obstinate sounds of the invisible motors in the sky. The airplanes replied to the nervous coughing of the machine guns with great battering blows that shook the earth. It was a celebration in honor of death.

Judas.” I cupped his strong jaw. “You are so evil… and I love it so much.” He kissed my cheek. “So are you, my death. Incredibly so. Deliciously dark and sinisterly divine.

In their misery, the people no longer fear death, so how can you threaten them even with death? Let the people fear death always, then if we seize those who follow sinister ways and put them to death, no one will dare live such lives. The Executioner's killing is perennial, it's true. But to undertake the killing yourself-that's like trying to carve lumber for a master carpenter. Try to carve lumber for a master carpenter and you'll soon have blood on your hands.

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

You might have more luck finding a support group or a relationship, if that is something you seek, among those who you deem capable enough to deal with your shrapnel.

These ‘sinister communal elements’ would if they came to power ‘bring ruin and death to the country’.

You fool. Do you really think we can escape?” Ding Yi said while still laughing sinisterly. “Escape velocity! Why don’t you calculate the escape velocity? Are you thinking with your butt? Heh heh heh heh…

Young people need looking after,” she said. “Think of that beautiful boy Galois. People felt there was something secret in his character. They were right. The secret was mathematics. His father a suicide. His own death a horrible farce. Dawn in the fields. Caped and whiskered seconds. Sinister marksman poised to fire.” I need all my courage to die at twenty. “Then there was Abel, not much older, desperately poor, Abel in delirium, hemorrhaging. So often mathematical experience consists of time segments too massive to be contained in the usual frame. Lives overstated. Themes pursued to extreme points. Adventure, romance and tragedy.” I will fight for my life. “Look at Pascal, who rid himself of physical pain by dwelling on mathematics. He was just a bit older than you when he constructed his mystic hexagram. The loveliest aspect of the mystic hexagram is that it is mystic. That’s what’s so lovely about it. It’s able to become its own shadow.” Keep believing it. “The tricky thing about mathematical genius,” she said, “is that its sources are so often buried. Galois for one. Ramanujan for another. No indication anywhere in their backgrounds that these boys would one day display such natural powers. Figures jumping out of sequence. Or completely misplaced.” (...) “Numbers have supernatural harmonies, according to Hermite. They exist beyond human thought. Divine order through number. Number as absolute reality. Someone said of Hermite: ‘The most abstract entities are for him like living creatures.’ That’s what someone said.” “People invented numbers,” he said. “You don’t have numbers without people.” “Good, let’s argue.” “I don’t want to argue.” “Secret lives,” she said. “Dedekind listed as dead twelve years before the fact. Poncelet scratching calculations on the walls of his cell. Lobachevski mopping the floors of an old museum. Sophie Germain using a man’s name. Do I have the order right? Sometimes I get it mixed up or completely backwards. (...) “Tell me about your mathematical dreams.” “Never had one.” “Cardano did, born half dead, his inner life a neon web of treachery and magic. Gambler, astrologer, heretic, court physician. Schemed his way through the algebra wars.” “Can I see the baby?” “Ramanujan had algebraic dreams. Wrote down the results after getting out of bed. Vast intuitive powers but poor education. Taken to Cambridge like a jungle boy. Sonja Kowalewski wasn’t allowed to attend university lectures. We both know why. When her husband died she spent days and days without food, coming out of her room only after she’d restored herself by working on her mathematics. Tell me, was it Kronecker who thought mathematics similar to poetry? I know Hamilton and many others tried their hands at verse. Our superduper Sonja preferred the novel.

Horseman is the haunting sequel to the 1820 novel The Legend of Sleepy Hollow by Washington Irving and takes place two decades after the events that unfolded in the original. We are introduced to 14-year-old trans boy Bente “Ben” Van Brunt, who has been raised by his idiosyncratic grandparents - lively Brom “Bones” Van Brunt and prim Kristina Van Tassel - in the small town of Sleepy Hollow, New York, where gossip and rumour run rife and people are exceedingly closed-minded. He has lived with them on their farm ever since he was orphaned when his parents, Bendix and Fenna, died in suspicious and enigmatic circumstances. Ben and his only friend, Sander, head into the woodland one Autumn day to play a game known as Sleepy Hollow Boys, but they are both a little startled when they witness a group of men they recognise from the village discussing the headless, handless body of a local boy that has just been found. But this isn't the end; it is only the beginning. From that moment on, Ben feels an otherworldly presence following him wherever he ventures, and one day while scanning his grandfather’s fields he catches a fleeting glimpse of a weird creature seemingly sucking blood from a victim. An evil of an altogether different nature. But Ben knows this is not the elusive Horseman who has been the primary focus of folkloric tales in the area for many years because he can both feel and hear his presence. However, unlike others who fear the Headless Horseman, Ben can hear whispers in the woods at the end of a forbidden path, and he has visions of the Horseman who says he is there to protect him. Ben soon discovers connections between the recent murders and the death of his parents and realises he has been shaded from the truth about them his whole life. Thus begins a journey to unravel the mystery and establish his identity in the process. This is an enthralling and compulsively readable piece of horror fiction building on Irvings’ solid ground. Evoking such feelings as horror, terror, dread and claustrophobic oppressiveness, this tale invites you to immerse yourself in its sinister, creepy and disturbing narrative. The staggering beauty of the remote village location is juxtaposed with the darkness of the demons and devilish spirits that lurk there, and the village residents aren't exactly welcoming to outsiders or accepting of anyone different from their norm. What I love the most is that it is subtle and full of nuance, instead of the usual cheap thrills with which the genre is often pervaded, meaning the feeling of sheer panic creeps up on you when you least expect, and you come to the sudden realisation that the story has managed to get under your skin, into your psyche and even into your dreams (or should that be nightmares?) Published at a time when the nights are closing in and the light diminishes ever more rapidly, not to mention with Halloween around the corner, this is the perfect autumnal read for the spooky season full of both supernatural and real-world horrors. It begins innocuously enough to lull you into a false sense of security but soon becomes bleak and hauntingly atmospheric as well as frightening before descending into true nightmare-inducing territory. A chilling and eerie romp, and a story full of superstition, secrets, folklore and old wives’ tales and with messages about love, loss, belonging, family, grief, being unapologetically you and becoming more accepting and tolerant of those who are different. Highly recommended.

You’ll have to trust me that he’s wise and witty.” I’m positive she can tell that from the regal way I carry myself. You’ve got werewolf blood spattered on your tail. Regally.

Ulster before 1969 had been sick but with hidden symptoms. Streets and streets of houses with bricked up windows and broken fanlights, graffiti on gable walls, soldiers everywhere: Belfast was now like a madman who tears his flesh, put straws in his hair and screams gibberish. Before, it had resembled the infinitely more sinister figure of the articulate man in a dark, neat suit whose conversation charms and entertains; and whose insanity is apparent only when he says calmly, incidentally, that he will club his children to death and eat their entrails with a golden fork because God has told him to do so; and then offers you more tea.

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.