Gothic Quotes (displaying: 1 - 30 of 46 quotes )
I had become so quiet and so small in the grass by the pond that I was barely noticeable, hardly there. I sat there watching their living room shining out of the dark beside the pond. It looked like a fairy-tale functioning happily in the post-World War II gothic of America before television crippled the imagination and turned people indoors and away from living out their own fantasies with dignity. Anyway, I just kept getting smaller and smaller beside the pond, more and more unnoticed in the darkening summer grass until I disappeared into the 32 years that have passed since then.
The next morning he boarded the train for the six-hour journey south that would bring him to the strange gothic spires and arches of St. Pancras Station. His mother gave him a small walnut cake that she had made for the journey and a thermos filled with tea; and Richard Mayhew went to London feeling like hell.
From the standpoint of the upper classes, the system had many merits. They felt that what was paid out of the poor rate was charity, and therefore a proof of their benevolence; at the same time, wages were kept at starvation level by a method which just prevented discontent from developing into revolution...It was plainly the certainty, derived from the old Poor Law, that actual death would be averted by the parish authorities, which induced the rural poor of England to endure their misery patiently...it taught them respect for their 'betters'.While leaving all the wealth that they produced, beyond the absolute minimum required for subsistence, in the hands of the landowners and farmers. It was at this period that landowners built the sham Gothic ruins called 'follies', where they indulged in romantic sensibility about the past while they filled the present with misery and degradation.
He loved a book because it was a book; he loved its odor, its form, its title. What he loved in a manuscript was its old illegible date, the bizarre and strange Gothic characters, the heavy gilding which loaded its drawings. It was its pages covered with dust? dust of which he breathed the sweet and tender perfume with delight.
I would be quite content to go to their children's bar mitzvahs, to marvel at their Gothic cathedrals, to 'respect' their belief that the Koran was dictated, though exclusively in Arabic, to an illiterate merchant, or to interest myself in Wicca and Hindu and Jain consolations. And as it happens, I will continue to do this without insisting on the polite reciprocal condition - which is that they in turn leave me alone. But this, religion is ultimately incapable of doing.
The large, gaping flaws in the construction of the stories--mad wives in the attic, strange apparitions in Belgium--are a representation of the life she could not face; these gothic subterfuges represent the mind at a breaking point, frantic to find any way out. If the flaws are only to be attributed to the practicce of popular fiction of the time, we cannot then explain the large amount of genuine feeling that goes into them. They stand for the hidden wishes of an intolerable life.
Bill Door found a piece of chalk in the farm's old smithy, located a piece of board among the debris, and wrote very carefully for some time. Then he wedged the board in front of the henhouse and pointed Cyril toward it. THIS YOU WILL READ, he said. Cyril peered myopically at the "Cock-A Doodle-Doo" in heavy gothic script. Somewhere in his tiny mad chicken mind a very distinct and chilly understanding formed that he'd better learn to read very, very quickly.
This is the most beautiful place on earth. There are many such places. Every man, every woman, carries in heart and mind the image of the ideal place, the right place, the one true home, known or unknown, actual or visionary. A houseboat in Kashmir, a view down Atlantic Avenue in Brooklyn, a gray gothic farmhouse two stories high at the end of a red dog road in the Allegheny Mountains, a cabin on the shore of a blue lake in spruce and fir country, a greasy alley near the Hoboken waterfront, or even, possibly, for those of a less demanding sensibility, the world to be seen from a comfortable apartment high in the tender, velvety smog of Manhattan, Chicago, Paris, Tokyo, Rio, or Rome? there's no limit to the human capacity for the homing sentiment.
Non- Euclidean calculus and quantum physics are enough to stretch any brain; and when one mixes them with folklore, and tries to trace a strange background of multi-dimensional reality behind the ghoulish hints of Gothic tales and the wild whispers of the chimney-corner, one can hardly expect to be wholly free from mental tension. (Dreams In The Witch-House)
A band called Drake is playing. The lead singer wears a long robe. He chants into the microphone in an ominous, froggy voice: "Dost thou leave me with such a myth / Falling into the abyss." I admire his rhyming scheme, but it would be much better if he has a lisp -- "the abyth." (Jonathan Ames, Middle-American Gothic)
Nobody can understand the greatness of the thirteenth century, who does not realize that it was a great growth of new things produced by a living thing. In that sense it was really bolder and freer than what we call the renaissance, which was a resurrection of old things discovered in a dead thing... and the Gospel according to St. Thomas... was a new thrust like the titanic thrust of Gothic engineering; and its strength was in a God that makes all things new.
HANNAH: ....English landscape was invented by gardeners imitating foreign painters who were evoking classical authors. The whole thing was brought home in the luggage from the Grand Tour. Here, look -- Capability Brown doing Claude, who was doing Virgil. Arcadia! And here, superimposed by Richard Noakes, untamed nature in the style of Salvator Rosa. It's the Gothic novel expressed in landscape. Everything but vampires.
I feel like a parent whose children prefer to stay inside and watch TV. The father pleads, "It's a beautiful day. Why don't you go play outside?" In this case, I feel like pleading, "It's a completely spooky night. Forget the loud music--come outside and have a blood sacrifice or something! There's a full moon!" (Jonathan Ames, Middle-American Gothic)
Dear friend now in the dusty clockless hours of the town when the streets lie black and steaming in the wake of the watertrucks and now when the drunk and the homeless have washed up in the lee of walls in alleys or abandoned lots and cats go forth highshouldered and lean in the grim perimeters about, now in these sootblacked brick or cobbled corridors where lightwire shadows make a gothic harp of cellar doors no soul shall walk save you.
Two chubby, expressionless boys stand to my right. They were once cute children, but now I imagine that they spend hours in dark rooms looking at violent porn. Or perhaps they have tender reveries about being sweet to the girls that they adore from a distance. I'd like to think about them in a generous light -- that they are actually gentle young men -- but it's hard not to stereotype them as potential serial killers. It's their eerie, still blankness that makes me think they're capable of murder -- and the fact that I'm in the Midwest. The Midwest seems to cultivate serial killing. Must be the boxed in geography. (Jonathan Ames, Middle-American Gothic)
The stuff of nightmare is their plain bread. They butter it with pain. They set their clocks by deathwatch beetles, and thrive the centuries. They were the men with the leather-ribbon whips who sweated up the Pyramids seasoning it with other people's salt and other people's cracked hearts. They coursed Europe on the White Horses of the Plague. They whispered to Caesar that he was mortal, then sold daggers at half-price in the grand March sale. Some must have been lazing clowns, foot props for emperors, princes, and epileptic popes. Then out on the road, Gypsies in time, their populations grew as the world grew, spread, and there was more delicious variety of pain to thrive on. The train put wheels under them and here they run down the log road out of the Gothic and baroque; look at their wagons and coaches, the carving like medieval shrines, all of it stuff once drawn by horses, mules, or, maybe, men.
To give you an idea of my state of mind I can not do better than compare it to one of those rooms we see nowadays in which are collected and mingled the furniture of all times and countries. Our age has no impress of its own. We have impressed the seal of our time neither on our houses nor our gardens, nor on anything that is ours. On the street may be seen men who have their beards trimmed as in the time of Henry III, others who are clean-shaven, others who have their hair arranged as in the time of Raphael, others as in the time of Christ. So the homes of the rich are cabinets of curiosities: the antique, the gothic, the style of the Renaissance, that of Louis XIII, all pell-mell. In short, we have every century except our own—a thing which has never been seen at any other epoch: eclecticism is our taste; we take everything we find, this for beauty, that for utility, another for antiquity, still another for its ugliness even, so that we live surrounded by debris, as if the end of the world were at hand.
There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make one almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie.