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Gothic Quotes

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Gothic Quotes

“Dozens of shiny brass wall sconces created the sort of dim and atmospheric lighting I'd only ever seen in old movies and haunted houses. And the room wasn't just darkly lit. It was also just... dark. The walls were painted a dark chocolate brown that I vaguely remembered from art history classes had been fashionable in the Victorian era. A pair of tall, dark wooden bookshelves that must have weighed a thousand pounds each stood like silent sentinels on either end of the room. Atop each of them sat an ornate brass, malachite candelabra that would have seemed right at home in a sixteenth-century European cathedral. They clashed in style and in every other imaginable way with the two very modern-looking black leather sofas facing each other in the center of the room and the austere, glass-topped coffee table in the living room's center. The latter had a stack of what looked like Regency romance novels piled high at one end, further adding to the incongruity of the scene. Besides the pale green of the candelabras, the only other color to be found in the living room was in the large, garish, floral Oriental rug covering most of the floor; the bright red, glowing eyes of a deeply creepy stuffed wolf's head hanging over the mantel; and the deep-red velvet drapes hanging on either side of the floor-to-ceiling windows.”

“His home was a part of him, an externalized expression of his will, for upon his inherited Dutch Manor house he had superimposed the Gothic magnificence which he desired. He had been attracted by the formulations of Andrew Downing, the young landscape architect who lived on the river at Newburgh and whose directions for building "romantic and picturesque villas" were changing the countryside; but it was not in Nicholas to accept another's ideas, and when five years ago he had remodeled the old Van Ryn homestead, he had used Downing simply as a guide. To the original ten rooms he had added twenty more, the gables and turrets, and the one high tower. The result, though reminiscent of a German Schloss on the Rhine, crossed with Tudor English and interwoven with pure fantasy, was nevertheless Hudson River American and not unsuited to its setting. The Dragonwyck gardens were as much as an expression of Nicholas' personality as was the mansion, for here, he had subdued Nature to a stylized ornateness. Between the untouched grove of hemlocks to the south and the slope of a rocky hill half a mile to the north he had created along the river an artificial and exotic beauty. To Miranda it was overpowering, and she felt dazed as they mounted marble steps from the landing. She was but vaguely conscious of the rose gardens and their pervasive scent, of small Greek temples set beneath weeping willows, of rock pavilions, violet-bordered fountains, and waterfalls.”

“It's just that in detective stories, women are usually dead before the curtain goes up. In fairy tales, they're usually alive. Fairy tales are about survival. That's all they're about. The princess lives to get married in the last act. The detective solves the woman; the knight saves her. And really, really, when you put a fairy tale together with grime and despair and industrial angst you get the Gothic, and that's where we live, Percy.”

“The Chattering Season by Stewart Stafford Hear a fearsome banshee's wail, From a dank bog or Celtic dale, Like the pulling of the rat's tail, In the whistle of a thrashing gale. In this skittish son of Mc's room, A death knell tolls out his doom, A cursed shadow now does loom, Her spirit bride's unwilling groom. The stark evening's grim messenger, She's a maelstrom's fatal passenger, Howls from last breath's harbinger, No dowry for this eternal dowager. © Stewart Stafford, 2022. All rights reserved.”

“Every hundred years or so a new Grim Anoukie is made; the Parish Priest at the time picks a victim, usually someone who has pissed off the church or simply wouldn’t be missed. He then buries them alive in the Virgin Grave; the rest is... history.” Nicky Peacock “The Virgin Grave”

“Dying Hours by Stewart Stafford All debts were settled on Christmas Eve, Fail to do so, and there’d be no reprieve, In the dying flame of a guttering candle, Monies got paid, and cash got handled. When the last customer left to journey home, Quinn, the shop owner, found himself alone, He stared at pooling shadows, no one there, Told himself to hurry, be with those who care. As he closed up, something screamed out, A figure from out of the dark began to shout, A man with no eyes begged alms for the dead, Or any old soup with a thick slice of bread. Quinn said he was a business, not a charity, The man’s eyes opened with some clarity, “Very well,” the man said, “Nothing’s free,” “I’ll drag your soul to Hell, come with me!” © Stewart Stafford, 2022. All rights reserved.”

“The Penultimate Hotel by Stewart Stafford Enter sluggishly into the lobby, A banquet is in progress in the restaurant, They’re regurgitating reality from within, And then eating their young. An apocalyptic porter has radioactive cubes in the lift, Housekeeping will have ten thousand years of light, But the sheets in the rooms, Will all turn to cream cheese. The cooks in the kitchen are breaking bones and rules, Creating a cake that stretches to infinity, Babel babble with protesting eggs, All baked in a hellfire oven. The concierge gives out tips, And tells guests they are awful and to leave, While simultaneously tattooing diabolical potion recipes, Inside a willing bellhop’s eyelids. © 2021, Stewart Stafford. All rights reserved.”

“Ha!’ cackled the fiend, ‘I expect you’d like revenge on that husband of yours. Murder shouldn’t go unpunished, and no creature enjoys delivering chastisement as much as I. What about giving him a taste of his own medicine? If you’d be so kind as to lend me your body, I’ll set him dancing to my tune.’ The wife’s spectre grimaced and nodded, at which the wicked Likho stripped off the nightgown, then the dead woman’s pliant skin, peeling back the flaccid folds. These it left in a slack heap. It gobbled her flesh and sucked the bones clean. These it hid behind the stove, before inserting itself inside the empty, wrinkled carcass, taking the former position of the corpse. Its fat tongue swiped the last juices from around its lips. When the husband returned home, all was as it had been; there was not a speck of blood to be seen, although the strangest smell of rotten eggs lingered”

“Clearly it is simplest never to marry at all,’ I said, trying to keep my voice light. These stories, ridiculous fairy tales though they were, had tainted the evening. Like Vivian, I preferred to think of The Sleeping Princess as a magical spectacle of fairy godmothers and characters from folklore. But then we had both learned the hard way about heartbreak and loss.”

“When she first saw him, she took him for a ghost. His jet-black hair fluttered in the breeze as he walked, letting her see his eyes. They seemed haunted, lost in some way. He was tall and gaunt, starkly pale in his black clothes. He was the very picture of Anton, even sharing his world-weary eyes of deepest blue. She could hardly look away from this apparition, an echo of all the memories and dreams that had haunted her these many years.”

“Art lovers collect paintings that demonstrate some form of imperceptible complexity. Abstract images with vague messages and symbols that keep you guessing and wondering what it all means, if anything. What these art buffs don’t seem to realize is that true complexity—the real abstract image—lies in something as simple and as random as a family photo. If they bothered to look deeply and closely enough into these unremarkable images, they would see the lies, the sorrow and the dark secrets that hide behind the superficial smiles and forced joviality. A picture is worth a thousand words, but most of those words get lost in translation.”

“Hello, priest," Lord Lucian said, his voice low and velvety, yet laced with an undercurrent of menace. "How about saying hello to God for me?” Father Michael swallowed hard. “I—I’ll pray…” The congregation’s collective breath hung in the silence. Lucian’s smile was a thing of winter—beautiful, cold, and merciless. “That’s the thing, Father. I’ve studied Him for centuries without breath, and I’ve noticed something.” From-When Darkness Loves:Shadows Bleed.”

“This is a place of mystery, Daniel, a sanctuary. Every book, every volume you see here, has a soul. The soul of the person who wrote it and of those who read it and lived and dreamed with it. Every time a book changes hands, every time someone runs his eyes down its pages, its spirit grows and strengthens. This place was already ancient when my father brought me here for the first time, many years ago. Perhaps as old as the city itself. Nobody knows for certain how long it has existed, or who created it. I will tell you what my father told me, though. When a library disappears, or a bookshop closes down, when a book is consigned to oblivion, those of us who know this place, its guardians, make sure that it gets here. In this place, books no longer remembered by anyone, books that are lost in time, live forever, waiting for the day when they will reach a new reader's hands. In the shop we buy and sell them, but in truth books have no owner. Every book you here has been somebody's best friend. Now they only have us, Daniel. Do you think you'll be able to keep such a secret?' My gaze was lost in the immensity of the place and its sorcery of light. I nodded, and my father smiled.”

“The scar rippled from the top of her bikini line down to her thigh. Where normal girls had hair, Ava had a quilt of mangled skin that required tweezers to de-fur. For ten months she tried joking about it (“Turns out sharks really CAN smell menstrual blood a mile away!”). She tried fixing it with a myriad of steroid injections and silicon gels. She even tried ignoring it. Her last hope was to confront it.”

“New sounds rustled through her anti-depressant haze; a gentle reverberation from the heart of the home... another creek... another thunk... rapid clicking like the wings of a broken cricket. Then, raindrops on metal... the escalating blare of a car horn... the scream of wet tires and the clink clink clink of showering glass.”

“The Girl At The Lake by Stewart Stafford She stood at her post rigidly again, By the lakeside in a white dress, Staring sadly down into the water, Wind left hair and clothes unruffled. I waved and called out to her then, She looked up at me and through me, No recognition from her mourner's mask, She went back to staring at lapping water. Jumped in my car to check on her welfare, Driving over to her sole sentinel's mark, Nobody around, just ripples kissing the shore, Arriving home, I saw her at the water's edge. She plunged into the lake in plain sight of me, I dived in with my shoes on to save her, Not suicide, she tricked my life from me, "You can't leave now, darling," as I drowned. © Stewart Stafford, 2022. All rights reserved.”

“Snowbound Condemnation by Stewart Stafford My vigil for a shabby scarecrow, Cruciform in a snowdrift field, Its saviour-suited arms clawing At corvids, frozen heels to Heaven. Its mouth a wailing O-shape, Lamenting deafened ears of corn, Resuscitation for a fool's errand, In a hysterical chorus of biting gales. Haunting a sycamore tree, complicit, I witnessed desolation's spectacle, Half-expecting a condemned miracle, This pilgrim genuflected into green slush. © 2025, Stewart Stafford. All rights reserved.”

“No human being could live in this wasted country, thought Mary, and remain like other people; the very children would be born twisted, like the blackened shrubs of broom, bent by the force of a wind that never ceased, blow as it would from east and west, from north and south. Their minds would be twisted, too, their thoughts evil, dwelling as they must amidst marshland and granite, harsh heather and crumbling stone.”

“Noemi wondered if High Place had robbed her of her illusions, or if they were meant to be shattered all along. Marriage could hardly be like the passionate romances one read about in books. It seemed to her, in fact, a rotten deal. Men would be solicitous and well behaved when they courted a woman, asking her out to parties and sending her flowers, but once they married. the flowers wilted. You didn't have married men posting love letters to their wives. That's why Noemí tended to cycle through admirers. She worried a man would be briefly impressed with her luster, only to lose interest later on. There was also the excitement of the chase, the delight that flew through her veins when she knew a suitor was bewitched with her. Besides, boys her age were dull, always talking about the parties they had been to the previous week or the one they were planning to go to the week after. Easy, shallow men. Yet the thought of anyone more substantial made her nervous, for she was trapped between competing de sires, a desire for a more meaningful connection and the desire to never change. She wished for eternal youth and endless merriment.”

“Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter.”

“But is is by no means those aspects of Dürer's style which it shares with Italian art that makes it so attractive especially for Pontormo and those who like him, but rather the spiritual depth and inwardness - in other words, the qualities which they miss most in classical Italian art. The antitheses of "Gothic" and "Renaissance", however, which are largely smoothed out in Dürer himself, are still irreconciled and irreconcilable in the outlook of mannerism.”

“Inside, there was a bed, and upon the bed there was a woman. More beautiful was she even than the damask rose while her scent, drifting through the open window, was that of the night dew. Her hair was silken as the raven's wing. Quite naked, she lay, so still upon the bed, her eyes closed in reverie. The young man looked first upon her breasts, where her hand rested. And upon each breast, there was a rosebud nipple. Upon each nipple there was a tip most tender. Upon each tip there was a milky drop. Chin lifted, lips parted, she milked her maiden breast. 'What I would give to suckle at that teat,' thought he. from 'Against Faithlessness' in Cautionary Tales”

“He unzipped the nylon case, and inside was a discolored frame that smelled like smoke. A thin layer of soot covered the painting under the glass- a picture of an old manor house. Gothic Victorian. Wisteria climbed the wall near the entrance, the pale-lavender blossoms clinging to the gray stone. The artist had brushed flowers below the windows as well, though those colors had been muted by the smoke damage.”

“The Poe Toaster by Stewart Stafford They call me The Poe Toaster, A sixty-year mourner, no boaster, With roses and cognac, I paid homage, To gothic Quarles’ eternal foggage. Some call me ghoul, stalker, graver, Obsessed fan, tombstone trader, Let him sleep unbroken, still his ghost, Tomahawk, overdue a tribute toast. Three roses; in-law, Eddy and wife, Cognac, exorbitant luxury in life, Relax, for I was kind, my friend, Pouring amontillado until the end. Why I stopped, if I'm woman or man, Are mysteries for C. Auguste Dupin, Shipwrecked on Night’s Plutonian shore, Allied with the silken darkness of yore. © Stewart Stafford, 2023. All rights reserved.”

“Owl Hollow Road by Stewart Stafford On a bracing night walk, On leafy Owl Hollow Road, A raspy voice whispered to me, Like a deep-croaking old toad. I moved rapidly on my path, And then heard phantom feet, Looked around, empty space, Only silence replaced the beat. At my most pressing pace now, A shadow pointed past my shoulder, An SUV slammed into my side, And I broke my back on a boulder. © Stewart Stafford, 2022. All rights reserved”

“The Forbidden Place by Stewart Stafford Bypass the chateau on the hill, For, as dusk falls, horrors creep, Griffins and gargoyles fly and flay, And grotesque statues come alive. Badinage becomes shrieks and roars, Shrill warnings for the straying and foolish, Cats as big as panthers stalk and slay, As their homicidal master flogs their fur. Wandering werewolves fetch human bones, A savage rampage beneath a Hunter's Moon, As the dawn routine reasserts its dominance, Denizens of night bathe in darkness's arms. © Stewart Stafford, 2022. All rights reserved.”

“Spring-Heeled Jack Is In The Lane by Stewart Stafford Go indoors, children, before dark falls, A fiend comes hideous and inhumane, Tell your mother not to answer the door, For Spring-Heeled Jack is in the lane. Is it spectre, beast or demon? A trick of light to fool the brain? Blue flames spew from hellish maw, Spring-Heeled Jack growls in the lane. No one can unsee its monstrous face, Nor its claws of steel that bloodstain, Its haunting cackle freezes victims, Spring-Heeled Jack leaps from the lane. © Stewart Stafford, 2024. All rights reserved.”

“So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stages of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were sent a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pass through a fever-stricken or even permanently damaged brain.”

“The Revenant by Stewart Stafford The golden ball in the sky adopts an adios hue, And kisses the world a fond adieu, The predators that thrive in its absence appear, Their shadows and eyeshine our darkest fears. The Revenant stirs from subterranean limbo, With bloodied fangs and glowing eyes akimbo, To survive and stagger the bloodlust way, Until fasting begins at break of day. Hear the tap at your window, The solitary song, Embrace the contagion, No matter how wrong. Feel the frigid skin, The piercing bite, And live in their troth, At one with night. Then recline in their grave, In eternal embrace, And rise at sundown, A gothic Queen of Disgrace. © Stewart Stafford, 2021. All rights reserved.”