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Shadow Touched

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erin kellison

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“I trust you won’t make a run for it as long as I’m here.” Emil laughed. “Is that what they told you when they assigned you as my handler? That I’m docile and friendly? That I’m cooperative and pleasant to be around? That if I wanted you dead, you’d already be dead? That’s a little too much faith put in government employees, if you ask me.”

GovernmentFunnyMagicScience FictionPrisonDystopianMages
Book:The Glass Cloister
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“Rothschild & Co-এর ওয়েবসাইট অনুসারে, তাদের কাছে ৪২০০ ফাইনান্সিয়াল এক্সপার্ট (অর্থ বিশেষজ্ঞ) রয়েছে। এরা বিশ্বের চল্লিশটি দেশে সক্রিয়ভাবে কাজ করে যাচ্ছে। রথচাইল্ডরা আজও অনেক ধনী। তবে তারা আগের মতো একক ধনী নয়। বিশ্বের হাজার হাজার পুঁজিপতির একজন। অষ্টাদশ ও ঊনবিংশ শতাব্দীতে তাদের পরিবার ব্যাংকিং ও সুদ থেকে যে সম্পদ উপার্জন করেছিল, পরিমাণে তা অবিশ্বাস্য হলেও সেটা অনেক উত্তরাধিকারীর মাঝে বণ্টিত হয়ে গেছে। তাছাড়া পরিবারটি চারিদিকে ছড়িয়ে পড়েছে। আগের মতো একার হাতে ব্যবসা পরিচালিত হয় না। কয়েক প্রজন্ম ধরে সম্পদ বণ্টনের পর পারিবারিক সম্পদ এখন অনেক কম। কত কম? এটা নিশ্চিতভাবে বলা কঠিন। রথচাইল্ড সবসময় নিজের ও গ্রাহকদের যাবতীয় ব্যবসায়িক তথ্য গোপন রাখে। এটাই তাদের ব্যবসায়িক পলিসি। বর্তমানে রথচাইল্ডদের মধ্যে সবচেয়ে ধনী সদস্য ডেভিড মায়ার ডি রথচাইল্ড। তার সম্পদের পরিমাণ দশ বিলিয়ন ডলার। তার এই সম্পদ বিশ্বের ১০০তম ধনী নারী 'ভিকি সাফরা' ও তার পরিবারের চেয়েও কম। গ্রিক বংশোদ্ভূত ভিকি সাফরার ষোল বিলিয়ন সত্তর মিলিয়ন ডলারের সম্পদ আছে। অর্থাৎ, রথচাইল্ডদের সবচেয়ে ধনী ব্যক্তিও বিশ্বের শততম ধনীর ব্যক্তির চেয়ে পিছিয়ে।... ...মোদ্দাকথা, রথচাইল্ডরা এখনো গরিব নয়; আবার এ কথাও সত্য, আজ তারা কোনো ধনী-নেতৃস্থানীয় দেশকে নিয়ন্ত্রণ করার মতো অবস্থায় নেই। বিশ্বব্যবস্থা পরিচালনার ক্ষমতা তাদের আর নেই। এখন তারা কোনো ব্যক্তি বা দেশকে ব্ল‍্যাকমেইল করে ব্যবসা বাগাতে পারে না। যারা রথচাইল্ড সম্পর্কে আজগুবি গালগল্প তৈরি করে, তারা আসলে কন্সফিরেসি ওয়েবসাইটের পোকা। তাদের জানাশোনাতেও কোনো আপডেট নেই। বিশ্বে আজ কার একচেটিয়া আধিপত্য? কে আজ পৃথিবী চালাচ্ছে? আমাদের গ্রেট গেইম লেখায় এর উত্তর মিলবে। পৃষ্ঠা : ১২৯-১৩০”

EconomicsRothschild FamilyMyth Vs Reality
Book:দ্য গ্রেট গেইম
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“There were charming ones as well as terrible ones, that I must admit. The painter was particularly entranced by Japanese masks: warriors', actors' and courtesans' masks. Some of them were frightfully contorted, the bronze cheeks creased by a thousand wrinkles, with vermilion weeping from the corners of the eyes and long trails of green at the corners of the mouths like splenetic beards. 'These are the masks of demons,' said the Englishman, caressing the long black swept-back tresses of one of them. 'The Samurai wore them in battle, to terrify the enemy. The one which is covered in green scales, with two opal pendants between the nostrils, is the mask of a sea-demon. This one, with the tufts of white fur for eyebrows and the two horsehair brushes beside the lips, is the mask of an old man. These others, of white porcelain - a material as smooth and fine as the cheeks of a Japanese maiden, and so gentle to the touch - are the masks of courtesans. See how alike they all are, with their delicate nostrils, their round faces and their heavy slanted eyelids; they are all effigies of the same goddess. The black of their wigs is rather beautiful, isn't it? Those which bubble over with laughter even in their immobility are the masks of comic actors.' That devil of a man pronounced the names of demons, gods and goddesses; his erudition cast a spell. Then: 'Bah! I have been down there too long!' Now he took up the light edifices of gauze and painted silk which were Venetian masks. 'Here is a Cockadrill, a Captain Fracasse, a Pantaloon and a Braggadocio. Only the noses are different - and the cut of their moustaches, if you look at them closely. Doesn't the white silk mask with enormous spectacles evoke a rather comical dread? It is Doctor Curucucu, an actual marionette featured in the Tales of Hoffmann. And what about that one, with all the black horsehair and the long spatulate nose like a stork's beak tipped with a spoon? Can you imagine anything more appalling? It's a duenna's mask; amorous young women were well-guarded when they had to go about flanked by old dragons dressed up in something like that. The whole carnival of Venice is put on parade before us beneath the cape and the domino, lying in ambush behind these masks... Would you like a gondola? Where shall we go, San Marco or the Lido?”

DecadenceMasksDecadentDecadentsE T A HoffmannTheophile Gautier
Book:Monsieur de Phocas
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“Then Chameroy spoke. 'You always put the blame on opium, but as I see it the case of Freneuse is much more complicated. Him, an invalid? No - a character from the tales of Hoffmann! Have you never taken the trouble to look at him carefully? That pallor of decay; the twitching of his bony hands, more Japanese than chrysanthemums; the arabesque profile; that vampiric emaciation - has all of that never given you cause to reflect? In spite of his supple body and his callow face Freneuse is a hundred thousand years old. That man has lived before, in ancient times under the reigns of Heliogabalus, Alexander IV and the last of the Valois. What am I saying? That man is Henri III himself. I have in my library an edition of Ronsard - a rare edition, bound in pigskin with metal trimmings - which contains a portrait of Henri engraved on vellum. One of these nights I will bring the volume here to show you, and you may judge for yourselves. Apart from the ruff, the doublet and the earrings, you would believe that you were looking at the Due de Freneuse. As far as I'm concerned, his presence here inevitably makes me ill - and so long as he is present, there is such an oppression, such a heaviness...”

VampireImmortalDecayDecadenceDecadentDecadentsE T A HoffmannUnearthlyEmaciatedPallorAlexander IvHeliogabalusHenri IiiRonsardValois
Book:Monsieur de Phocas
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“It was Stevenson, I think, who most notably that there are some places that simply demand a story should be told of them. ... After all, perhaps Stevenson had only half of the matter. It is true there are places which stir the mind to think that a story must be told about them. But there are also, I believe, places which have their story stored already, and want to tell this to us, through whatever powers they can; through our legends and lore, through our rumors, and our rites. By its whispering fields and its murmuring waters, by the wailing of its winds and the groaning of its stones, by what it chants in darkness and the songs it sings in light, each place must reach out to us, to tell us, tell us what it holds. ("The Axholme Toll")”

HorrorStoryLocationPlaceFolkloreLegendPsychogeographyRobert Louis StevensonGenius Loci
Book:Best New Horror 21
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“The rest I omit, for many a bitter Pill can be swallowed under a golden Cover: I make no Mencion that in each of my Churches I put a Signe so that he who sees the Fabrick may see also the Shaddowe of the Reality of which it is the Pattern or Figure. Thus, in the church of Lime-house, the nineteen Pillars in the Aisles will represent the Names of Baal-Berith, the seven Pillars of the Chappell will signify the Chapters of his Covenant. All those who wish to know more of this may take up Clavis Salomonis, Niceron's Thaumaturgus Opticus where he speaks of Line and Distance, Cornelius Agrippa his De occuItia philosophia and Giordano Bruno his De magia and De vinculis in genere where he speaks of Hieroglyphs and the Raising of the Devilles.”

OccultOccultismPsychogeographyOccult Architecture
Book:Hawksmoor
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