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Quote by Craig D. Lounsbrough

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Craig D. Lounsbrough

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“He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.”

WorldLifeImportantReasonDeathPoetryUniverseBlackNatureWhiteSecretImpossibleHonestHonestyExpressionFailureConfidenceIllusionImportanceStructurePropertyGiftReleaseCinemaDelusionMelancholyMortalityRealisticBlack And WhitePresentRealismDoomedCartoonDesperationBeingDoomViolationAnimatedGameAmbiguousFrailFrailtyImageIllusoryHiddenMotionTrickDrawSinkWillfulIntoxicatingAccidentalDrawingsOutwitInanimateFractionImmobileConstrictionDesperatelyDeath World
Book:Little Kingdoms
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“Do you like that?” he whispered. “Yes, I…” She fought to speak between helpless gasps. “I thought…it was going to hurt.” “Not from this.” A smile touched his mouth. “Later, however, you might have cause for complaint.” A shimmer of sweat gathered on his face as he felt the pulsing of her body around his exploring finger. “I don’t know if I can be gentle,” he said raggedly. “I’ve wanted you for too long.” “I trust you,” she whispered. Matthew shook his head, easing his hand away from her. “You have terrible judgment. You’re in bed with the last man in the world you should trust, and you’re about to make the biggest mistake of your life.” “Is this your idea of seductive banter?” “I thought I should give you one last warning. Now you’re doomed.” “Oh, good.” Daisy moved to help him as he stripped off her drawers and stockings.”

DoomedDaisy And Matthew
Book:Scandal in Spring
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“All at once I feel desperate, outraged. Why am I alone doomed to spend nights of torment, with an unseen jailer, when all the rest of the world sleeps peacefully? By what laws have I been tried and condemned, without my knowledge, and to such a heavy sentence, too, when I do not even know of what or by whom I have been indicted? A wild impulse comes to me to protest, to demand a hearing, to refuse to submit any longer to such injustice. But to whom can one appeal when one does not even know where to find the judge? How can one ever hope to prove one’s innocence when there is no means of knowing of what one has been accused? No, there’s no justice for people like us in the world: all that we can do is to suffer as bravely as possible and put our oppressors to shame.”

SufferingInjusticeAloneDesperateDoomedTormentCondemned
Book:Asylum Piece
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“Woolrich had a genius for creating types of story perfectly consonant with his world: the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story. These situations, and variations on them, and others like them, are paradigms of our position in the world as Woolrich sees it. His mastery of suspense, his genius (like that of his spiritual brother Alfred Hitchcock) for keeping us on the edge of our seats and gasping with fright, stems not only from the nightmarish situations he conjured up but from his prose, which is compulsively readable, cinematically vivid, high-strung almost to the point of hysteria, forcing us into the skins of the hunted and doomed where we live their agonies and die with them a thousand small deaths.”

WritingStoriesStorytellingSuspenseStoryWritersDoomedHysteriaHuntedCornell WoolrichNightmarishAlfred Hitchcock
Book:Night and Fear: A Centenary Collection of Stories by Cornell Woolrich
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