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Read through the most famous quotes by topic #horror
You’re all alone. No one wants you anymore. How long did you think we would all stay? You’ve killed each and every person who ever loved you. Even your children won’t want you. They will see what you have done. You must be the first ward in history to treat your guardian so badly that he left you. Do you think your mistress will stay? No. Elizabeth will take what she wanted and then she will leave you too. ↗
#skn-hammerstone #the-deceived #vessel-of-souls #ya #ya-horror
Where got she her sullen mouth And where her swaying form? Would she live on eggs and apples When the blood of men is warm? (“The Young Witch”) ↗
#horror #supernatural #witch #men
I tried not to think of all the horror movies featuring this exact scenario, soon to be followed by an abundance of gratuitous blood and gore. ↗
if you're a teenaged babysitter caring for a mute toddler in a remote Maine cabin during a once-in-a-century blizzard while and escaped killers (bearing a strange resemblance to the handicapped boy you and your friends bulled of an embankment and left for dead all those years ago) roams the woods, you're probably in a horror movie. ↗
They needed a reason why a little kid would commit murder, someone or something to point the finger at, and I think they were relieved when they hit upon horror movies as the culprit. But there's no reason a child commits murder, just as there's no reason a child gets lost. What would it be - because his parents weren't watching him? That's not a reason, it's just a step in the process. ↗
The villains were always ugly in books and movies. Necessarily so, it seemed. Because if they were attractive—if their looks matched their charm and their cunning—they wouldn't only be dangerous. They would be irresistible. ↗
(W.D.) Howells asserted that the Americans' 'love of the supernatural is their common inheritance from no particular ancestry.' Their fiction, he added, often gathers in the gray 'twilight of the reason,' on 'the borderland between experience and illusion." Howells's geographical metaphor was derived, of course, from Hawthorne's idea of a moonlit 'neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbue itself with the nature of the other.' Whether literally, as in Cooper's The Spy, or metaphorically, as in Hawthorne's works, the neutral territory/borderland was the familiar setting of the American romance. As American writers came to realize, not only was there a borderland between East and West, civilization and wilderness, but also between the here and the hereafter, between conscious and unconscious, 'experience and illusion' - psychic frontiers on the edge of territories both enticing and terrifying. ↗
The whole forest was peopled with frightful sounds--the creaking of the trees, the howling of wild beasts, and the yell of Indians; while sometimes the wind tolled like a distant church bell, and sometimes gave a broad roar around the traveler, as if all Nature were laughing him to scorn. But he was himself the chief horror of the scene, and shrank not from its other horrors. ↗
